ROYAL IRISH ACADEMY OF MUSIC
Ceol-Acadamh Ríoga na hÉireann
36 Westland Row, Dublin 2
Tel: +353-1-6764412 Fax: +353-1-6622798
Tel: 01-6325300 Fax: 01-6622798 Email: localcentre@riam.ie
Website: http://www.riam.ie Extranet: http://extranet.riam.ie
Syllabus of String, Chamber Music &
Orchestra Examinations
for Local Centres & Schools
2015-2018
REVISED FOUR-YEAR SYLLABUS FOR STRING INSTRUMENTS
TEACHERS AND CANDIDATES ARE ADVISED TO CHECK
ALL RELEVANT SECTIONS CAREFULLY
Please note that where pieces are listed in the Syllabus, the publishers are given
mainly as an aid to locating material, and are merely suggestions; other
authoritative editions of the music will be equally acceptable.
TABLE OF CONTENTS
Page
Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
User Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Aural Tests (Elementary to Grade V). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Theory Requirements (Elementary to Grade V). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Combined Aural / Theoretical Tests (Grade VI upwards). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Recital Certificate Programme.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Violin.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Viola. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Violoncello. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Double Bass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Irish Harp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Concert Harp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Classical Guitar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Chamber Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
School Orchestras. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Theory & Harmony Written Paper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Publishers & Suppliers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Compilers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
1
Foreword
Foreword
As Ireland’s oldest music institution, the Royal Irish Academy of Music has been fostering
musical talent and cultivating a love and appreciation of music since 1848. Conscious of the
importance of developing a sense of music in everyone, the RIAM is dedicated to inclusivity –
music belongs to us all and should be nurtured at every age and every level.
Through the Local Centre Examination System, the Academy aims to offer a sense of structure
to the graded examinations, whereby all areas of technical development and musical awareness
are carefully measured to ensure that progress can be attained at each level. An extensive
range of repertoire is on offer for each instrument and at each grade in the hope that there is
something to suit everyone’s taste!
The purpose of the examination is to provide an opportunity for each candidate to be given a
fair and balanced assessment of their progress, where positive elements of the performance will
be rewarded, and weaker areas will be highlighted in a constructive manner.
For those who do not wish to take examinations, the syllabus can still be a useful tool to indicate
milestones, and guide the teacher/ student towards the gradual development of both technical
and musical skills.
Whether you choose to sit an examination or not, there is no shortcut to success: regular practice
is the only way to ensure steady progress, and will help to build confidence in everyone –
young and old!
The User Guide outlined over the following pages offers advice to candidates and teachers on
the various aspects of our examinations and recital certificate programmes, and will hopefully
provide some insight into the reasons for developing each area, as well as offering suggestions
on how to best to prepare for the examination itself.
Lorna Horan
Chairperson
Senior Examiners
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
User Guide for Local Centre Examinations
Useful tips to help prepare for your Examination
Each area of the examination serves a purpose, and plays an important role in developing a well
rounded musician. Listed below are a few useful tips, aimed at helping the teacher /candidate
to understand the reasons behind each area of the examination, and how to improve on those
areas.
Pieces
The first mission is to choose pieces to suit each candidate, and both student and teacher should
have input into this task. From the teacher’s perspective it is important to choose pieces that will
develop the technique of the student but will also show off the students’ ability to their best
advantage. From the student’s perspective it is important to choose pieces that they like, as this
will encourage more dedication at practice time!
The early stages of learning a piece are hugely important, and while note learning can be a slow
and arduous task it is essential to learn the correct notes and rhythm from the very start. Slow
and careful practice is strongly encouraged to begin, gradually building up the tempo over time.
Once the basics are in place, the musical detail can be introduced little by little. It should be
noted that some music editions do not offer much detail by way of dynamic markings or phrase
marks, but all music should have shape and colour to enhance the character of the work.
Always look at the composer and title of the piece – this will always give an indication of how
the piece should sound. Listening to a recording of the pieces will also inspire musical ideas!
It is important to practise playing the pieces through without stopping – it is not necessary to
restart the piece because of a small slip, and this can become a bad habit – always try to keep
going! It is a very good idea to play through the pieces for family or friends prior to the
examination, as this can really help to build confidence.
For instrumentalists and singers it is essential to practice with the accompanist, to be familiar
with the accompaniment part and all the entries.
Scales
Quite often students tend to underestimate the benefits of learning scales, and do not enjoy
practising them, but there are many reasons for practising scales, and huge advantages, for
example:
•
They help to develop a sense of key
•
They help to develop rhythmic patterns
•
For all instrumentalists they help to develop finger fluency and co-ordination
•
For string players they help to develop bow control and key patterns
•
For singers and wind players they help to develop breath support and phrasing
Regular practice is advised – this does not mean that every scale has to be practised every day better to concentrate on a few scales at a time (select different keys each time you practise). The
examiner will be listening out for a fluent pace with clear rhythmic patterns, good tone and
articulation (where appropriate) and finger clarity throughout.
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User Guide
Sight-Reading
Students tend to have a dread of sight-reading - an unfamiliar piece of music is placed on the
music stand and almost instantly the room is filled with a sense of panic! Like all other areas
of musical learning, this skill can be easily improved, and will help to develop a quick
understanding of rhythmic motifs, note patterns, key signatures, accidentals, and ultimately
will be an aid to faster learning.
To be successful at sight-reading does not necessarily mean a note-perfect account of a piece –
the aim of sight-reading is to give “an impression” of how the piece should sound. With this
in mind, the examiner will be listening for a sense of continuity. A cautious reading, where the
candidate pauses to ponder over the next notes can only result in a hesitant attempt, with no
real sense of how the notes fit into phrases, or how the phrases make up a piece of music.
Always look ahead and keep the piece moving along with a steady pulse for best results.
Again, this area can only improve with practice – a few bars every day will make all the
difference!
The Let’s Get Reading sight-reading books for piano are written by Jean Archibald and Marie
Moran and offer a step-by-step guide to learning how to sight-read well. These books are
available from Preliminary level to Senior Certificate, and are extremely useful books for both
teachers and students as a guide to successful sight-reading. They also include sample sightreading tests at the back of each book.
For other instrumentalists, we are working on sample sight-reading tests which will be available
on our website www.riam.ie – this is still work in progress but we hope to have some of the
main instruments completed in the near future.
Theory
Knowledge and understanding of theory will equip any candidate with the necessary tools to
display a well thought-out performance of their pieces. Notes, rests, rhythmic values, time
signatures and key signatures provide the “nuts and bolts” of basic learning; expression
markings allow us to lift the notes off the page and create colour and shape, adding character
and style to the music. If you do not understand the meaning of the theoretical details and
expression markings, this makes it rather difficult to portray in performance – this area is worth
five marks in the examination.
The publication Music Workout by Jean Archibald and Bernadette Marmion is a series of theory
workbooks based on the syllabus of the Local Centre examinations in Theory. Each workout
(Preparatory to Grade 8) includes detailed explanatory notes. This material also provides useful
preparation for the ‘reading’ elements of the Aural Tests programme (practical music
examinations).
The Theory Requirements listed on pages 14 and 15 should be studied carefully for each grade,
as there are some changes and advancements to this new syllabus. For example, candidates will
be encouraged to describe the character of the pieces performed (Grades II and III), and will be
asked to describe the style of the pieces performed (Grades IV and V).
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Aural Tests
The key to developing a strong sense of musicianship is through listening. Having an
awareness of melodic shape, rhythmic pattern and musical phrasing can undoubtedly lead to
a higher level of performance. With this in mind, the function of the Aural Tests is to establish
a stronger connection between listening and performing, to help candidates build on all aspects
of their musical learning.
These tests have been carefully constructed, to ensure a gradual development in ear training
from the earliest grades right through to Senior Certificate level. Up to Grade V, the Aural Tests
focus on four main areas: Listening, Memory, Rhythm and Sight-Singing. From Grade VI
onwards the requirements for Aural and Theory are combined. The full details for each grade
are listed from pages 10 to 13 in the syllabus.
For Sight-Singing, it is important to note that candidates are not assessed on the quality of their
voice. The aim of this test is to develop recognition of melodic pattern, shape, and intervals.
The RIAM Music Workout series contain many sight-singing and clapping exercises which help
to develop musicianship alongside theoretical knowledge.
For candidates wishing to undertake the Senior Certificate, we have introduced an added
requirement: “candidates will be expected to demonstrate an understanding of the style of the pieces
performed; to discuss some of the technical demands presented in the chosen pieces, and their approach
to overcoming these difficulties”.
The aim of this exercise is to encourage candidates to reflect on the musical styles, form and
technical aspects of the pieces performed at this advanced level of study. Consequently, the
allocation of marks will be altered in this area:
Combined Aural/ Theoretical tests: a maximum of 10 marks
Viva Voce: a maximum of 5 marks
Full details are available on page 19 of the syllabus.
The day of the Examination
Even professional musicians will admit to suffering from nerves – it is only natural that
candidates (and quite often parents too!) feel anxious prior to their examination. Every
examiner has experienced nerves and can empathise with those feelings of tension and worry
– they will do their best to create a friendly atmosphere on the day, and ultimately get the best
possible performance from each candidate. Listed below are a few useful tips, to help things
run as smoothly as possible on the day:
At home...
Be sure to do a warm-up at home. This can be a good way to calm any nerves and focus the
concentration. Warm-up facilities are not provided at the examination centres. Before leaving
home, be sure to have everything you need: instrument, music stand (where appropriate), and
music (photocopies may only be used in the examination room when the original music is also
present!)
Aim to arrive at the examination centre ten minutes early – this will give you time to take your
instrument out of its case, have your music ready and take your coat off before entering the
5
User Guide
examination room. Use the extra minutes before the examination to settle your nerves. Try to
think positively, and remember that the examiner is on your side and wants you to do a good
job. If possible, try not to arrive too far in advance of the examination call time – waiting
around can be counterproductive!
In the examination room...
Make sure that you are comfortable before you begin check that the stool or music stand is at
the appropriate height for you, and do not be afraid to ask the examiner for help if you wish to
make any adjustments.
For instrumentalists, tune your instrument prior to entering the room, but also check your
tuning with the piano before you start to play. For wind/brass players, the examiner will be
happy to let you blow a few notes to clear the instrument prior to tuning with the piano.
You will be given the option of starting with scales or pieces, choose whatever suits you best.
(For piano examinations, choosing to play scales first can be a good way of getting used to an
instrument that is unfamiliar to you!) Where possible the examiner will listen to all three pieces
in their entirety, but do not worry if you are stopped during a piece – this is not a reflection on
your performance.
Timing allocated for each grade
Our examiners are trained to work quickly and efficiently. While taking the time to place each
candidate at ease at the start of the examination, it is also the responsibility of the examiner to
adhere to the allocated schedule as much as possible. The following is an outline of the time
allocated for each examination, though it should be noted that two extra minutes are added on
for string players and one extra minute is added on for wind/brass players to allow for tuning.
Elementary, Preliminary, Primary and Grade I
10 minutes
Grade II
12 minutes
Grade III
15 minutes
Grades IV and V
20 minutes
Grades VI, VII and VIII
30 minutes
Senior Certificate
45 minutes
Candidates with Special Needs are also allocated extra time.
The examination notification sent to candidates / applicants in the post will indicate a Call Time
– 10 minutes prior to the examination time. Candidates should aim to be ready to play from the
Call Time onwards. Our examiners do their best to adhere to the examining timetable, and aim
to ensure that examinations run on time. To a large degree, the pace of the examination is set
by the candidate – if they choose to play their scales and pieces at a rather slow pace this can
lengthen the overall examination time, candidates suffering from extreme nerves can also take
longer to get settled. With this in mind, we cannot guarantee that examinations will run on
schedule – we can only guarantee that every candidate will be given every opportunity to do
their best on the day.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Candidates with Special Needs
The term “Special Needs” covers an increasingly broad area, which the RIAM endeavours to
accommodate in every possible way. Naturally, every candidate has different needs, therefore
each person is given independent consideration.
When candidates are entered under Special Needs, the following are some of the provisions
available to facilitate individual requirements:
•
•
•
•
•
extra time allocation for the examination
enlarged or Braille sight-reading for visually impaired candidates
specific order in which the candidate wishes to take the different areas of the
examination
parent/carer to be present in the examination room
the RIAM will also endeavour to accommodate other provisions specific to individual
needs
A Special Needs entry form must be completed and submitted at the time of application in
order to benefit from any of the required provisions. The form is available from the RIAM Local
Centre Office, or may be downloaded from www.riam.ie It should also be noted that the RIAM
does not offer any dispensation in the marking – every candidate is assessed on the same basis.
7
Introduction
Introduction
I am delighted to introduce this new syllabus for all String, Chamber Music and Orchestral
examinations for the period from 2015 to 2018. You will notice that while some new repertoire
has been added to all strings, many of the ever-popular pieces have been retained.
As a performer and teacher myself, I think it is most important to research repertoire which
suits each particular student and their individual needs. Nobody enjoys studying pieces which
they do not enjoy performing, at any level! It is also important to include a suitable mixture of
repertoire to cover the many different technical aspects encountered in string playing.
Performing is at the heart of all RIAM examinations, so your chosen examination pieces should
reflect a true ‘mini-recital’.
I hope you enjoy exploring the music on offer in this new syllabus, and wish you and your
students every success in your examinations and music making, wherever it may take you.
Miriam Roycroft
Head of String Faculty
RIAM
8
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
AURAL REQUIREMENTS AND THEORETICAL QUESTIONS
REVISED FOR ALL PRACTICAL SUBJECTS
AURAL TESTS
From Elementary to Grade V this area is worth a maximum of 10 marks.
Candidates will be asked to perform the following tests:
Elementary Grade
Memory:
(a)
Clap or tap from memory the rhythm of a short two-bar melody in 2/4 or 3/4 time. The
melody will begin on the first beat of the bar and the pulse will be given.
(b)
Sing the precise pitch of a single note played twice by the examiner. Compass Middle
C - octave above.
Reading:
Clap a two-bar rhythm in 3/4 or 4/4 time.
Note values
±+°
Preliminary Grade
Aural Observation:
A piece will be played twice by the examiner. Comment whether the second playing was
louder/softer or faster/slower.
Memory:
Clap or tap from memory the rhythm of a short two-bar melody in 2/4 or 3/4 time played three
times. The melody will begin on the first beat of the bar and the pulse will be given.
Sing from memory a short melodic phrase within the first three notes of the major scale (d r m)
played three times. The pulse, tonic chord and starting note will be given before the first
playing.
Reading:
Clap a three-bar rhythm in 3/4 or 4/4 time.
Note values
±°+¬
9
Aural Requirements & Theoretical Questions 2015-2018
Primary Grade
Aural Observation:
Comment on the tempo (fast/slow or changing) and dynamic (loud/soft or changing) of the
piece played once by the examiner.
Memory:
(a)
(b)
Clap or tap from memory the rhythm of a short two-bar melody in 3/4, 4/4 or 6/8 time
played three times. The melody will begin on the first beat of the bar and the pulse will
be given.
Sing from memory a short melodic phrase, within the range of a third in major keys (d
r m) played three times. The pulse, tonic chord and starting note will be given before
the first playing.
Reading:
Clap a four-bar rhythm in 3/4 or 4/4 time. Note values ±
° °. + ¬
Grade I
Aural Observation:
Comment on the tempo, dynamic and articulation (legato/staccato) of the piece played once by
the examiner. Italian terms may be used, but are not obligatory.
Memory:
(a)
(b)
Clap or tap from memory on two further hearings the rhythm of a short phrase taken
from the treble part of the aural observation piece.
Sing from memory a short melodic phrase, within the range of a fifth in major keys (d
r m f s) played three times. The pulse, tonic chord and starting note will be given before
the first playing. The melody will begin on the tonic.
Reading:
(a)
Clap a four-bar rhythm in 3/4 or 4/4 time; note values ±
° °. ¬ and £ rest.
(b)
Sing at sight a two-bar melody in 3/4 or 4/4 time. Key C major. Note values ±
Pitch d r m, moving by step only.
+°
10
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Grade II
Aural Observation:
(a)
(b)
Comment on tempo, dynamic and articulation of the piece played once by the examiner.
Clap the pulse while the examiner plays the piece a second time.
Memory:
(a)
(b)
Clap or tap from memory on one further hearing the rhythm of a short phrase taken
from the treble part of the aural observation piece.
Sing from memory a short melodic phrase, within the range of a fifth, in major or minor
keys played three times. The pulse, tonic chord and starting note will be given before
the first playing. The melody will begin on the tonic.
Reading:
(a)
(b)
Clap a four-bar rhythm in 3/4 or 4/4 time: note values
Sing at sight a two-bar melody in 3/4 or 4/4 time
Öµ ± ° °. ¬ and £ rest.
Note values ± ° + °.
Pitch d r m - s involving leaps of a third, d - m, m - s ascending and descending
Keys C, F and G majors
Grade III
Aural Observation:
(a)
(b)
(c)
Comment on the dynamics/articulation of the piece played by the examiner.
Clap the pulse while the examiner plays the piece a second time.
State the time (3/4 or 4/4 time) after second hearing.
Memory:
(a)
(b)
Clap or tap from memory on one further hearing the rhythm of a phrase taken from the
treble part of the aural observation piece.
Sing from memory a short melodic phrase, within the range of a fifth, in major and
minor keys played three times. The pulse, tonic chord and starting note will be given
before the first playing. The melody may or may not begin on the tonic.
Reading:
(a)
Clap a four-bar rhythm in 3/4, 4/4 or 6/8 time. Note/rest values as in preceding grade
(b)
as well as ±. / Ö-µ / ± Ä in 6/8 time.
Sing at sight a 4-bar melody in 3/4 or 4/4 time
Note values ± + ° + °. + ¬
Pitch d r m - s with leaps, d - m, m - s ascending and descending
Keys C, G, D and F majors
11
Aural Requirements & Theoretical Questions 2015-2018
Grade IV
Aural Observation:
(a)
(b)
(c)
Comment on the dynamics/articulation of the piece played once by the examiner
(Italian terms to be used).
Clap the pulse while the examiner plays the piece a second time.
State the time (3/4 or 4/4 time) after second hearing.
Memory:
(a)
(b)
Clap or tap from memory on one further hearing the rhythm of a phrase taken from the
treble or bass part of the aural observation piece.
Sing from memory a short melodic phrase which may be in a major or minor key played
three times. The pulse, tonic chord and starting note will be given before the first
playing. The melody may or may not begin on the tonic.
Reading:
(a)
Clap a four-bar rhythm in 3/4, 4/4 or 6/8 time. Note/rest values as in preceding grade
(b)
plus ±.+ Ä and ¶==» in 3/4 and 4/4, £ Ä and ¶====» in 6/8 time.
Sing at sight a four-bar melody in 3/4 or 4/4 time
Note values ± ° °. + ¬
Pitch d r m - s l with leaps, d - m, d - s, m - s ascending and descending.
Keys C, G, D, and F majors
Grade V
Aural Observation:
(a)
(b)
Comment on the dynamics/articulation of the piece played by the examiner (Italian
terms to be used).
After another hearing (i) state the time (3/4, 4/4 or 6/8); (ii) state whether the key is major
or minor.
Memory:
(a)
(b)
Clap or tap from memory on one further hearing the rhythm of a phrase taken from the
treble or bass part of the aural observation piece.
Sing from memory a short melodic phrase which may be in a major or minor key played
three times. The pulse, tonic chord and starting note will be given before the first
playing. The melody may or may not begin on the tonic.
Reading:
(a)
Clap a 4-bar rhythm in 3/4, 4/4 or 6/8 time. Note/rest values as in preceding grade plus
Ö é » /¶ »µ in 3/4 and 4/4 time and Ö.»µ / Öéêµ / Öé==» in 6/8 time.
(b)
Sing at sight a 4-bar melody in 3/4 or 4/4 time
Note values Öµ ± ° °.+ ¬
Pitch d r m s l with leaps as in preceding grade, plus l̩ - d ascending and descending.
Keys C, G, D and F majors - melodies will begin and end on Doh.
12
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
THEORY REQUIREMENTS
This area is worth a maximum of 5 marks.
For grades Preliminary to V candidates presenting a certificate or result sheet verifying that
they have passed the Local Centre written Theory & Harmony paper for the same grade as, or
higher than, their practical examination will be exempt from the Theory tests and will be
awarded full marks for this section. Candidates will be asked to name and explain the
following in relation to the pieces performed:
Elementary Grade
Clefs, stave, bar lines, note values and expression markings.
Preliminary Grade
Clefs, stave, bar lines, simple time signatures, note values and expression markings.
Primary Grade
Clefs, stave, bar lines, simple time signatures and expression markings.
Grade I
Pitch names, time signatures, note values, expression markings and key signatures.
Grade II
Pitch names, time signatures, note values, expression marks and key signatures. In addition,
candidates will be asked to describe the character of any of the pieces performed (eg lively,
sorrowful, happy, dance-like, jazzy etc.)
Grade III
Time signatures, note values, expression markings and key signatures. As for Grade II,
candidates will be asked to describe the character of any of the pieces performed (eg lively,
sorrowful, happy, dance-like, jazzy etc.)
Grades IV
Time signatures, note values, expression markings, and key signatures. In addition candidates
will be expected to identify the relative major or minor of the keys of each piece performed.
Candidates will also be asked to describe the style of any of the pieces performed: (eg baroque,
classical, romantic, modern).
Grade V
Time signatures, note values, expression markings, key signatures and relative major or minor
of the keys of each piece performed. As for Grade IV, candidates will be asked to describe the
style of any of the pieces performed. In addition, candidates will also be asked to identify the
tonic and dominant of any of the keys in which the pieces are written (atonal pieces do not
apply).
13
Aural Requirements & Theoretical Questions 2015-2018
COMBINED AURAL/THEORETICAL TESTS
For Grades VI to VIII candidates presenting a certificate or result sheet verifying that they have
passed the written Theory & Harmony paper for the same grade as, or higher than, their
practical examination will be exempt from the combined Aural/Theoretical Tests and will be
awarded the full fifteen marks for this section.
Senior Certificate candidates instead will be awarded the full ten marks in this section but will
be required to partake in the Viva Voce section of the examination which is worth a maximum
of five marks.
Grade VI
Aural/Visual Observation:
A short piece will be played twice by the examiner, a copy of which will be given to the
candidate. The candidate to answer questions as follows:
(a)
(b)
(c)
(after first playing)
i
Name the tonic key of the piece. Keys: C, G, D, F major. A , E, D minor. Name
the relative major/minor of the tonic.
ii
Describe the time signature. Any signature using Ä ± ° or ±. beats.
iii
Give technical names for specified notes (tonic, supertonic, etc)
(after first or second playing)
i
Point out places of melodic interest
ii
From a list of suggested textures, choose the most appropriate to the piece (eg
chordal, two-part, etc).
(after second playing)
Point out the position of obvious cadence points.
Memory:
(a)
(b)
Clap or tap from memory the rhythm of the upper line of a short two-part phrase using
treble and bass clefs. The pulse will be given before the first playing. The test will be
played three times.
Sing from memory a short melodic phrase. The pulse, tonic chord and starting note will
be given before the first playing. The test will be played three times.
Reading:
Sing at sight a four-bar melody in 3/4 or 4/4 time
Note values:
Ä
to
¬ including ±. Ä
Pitch: Full major scale extended to a fourth below the tonic (s̩ l̩ t̩ d r m f s l t dˈ)
Leaps between any notes of the tonic chord
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Keys: Major keys up to two sharps and two flats
Melodies will begin on a note of the tonic chord and be within an octave range.
An upbeat may be included. For example:
Intervals:
(a)
(b)
Sing any of the following melodic intervals as requested. The pitch of ‘doh’ will be
given: d - r̩ d - m̩ d - f̩ d - s̩ d - l̩ d - t̩ d - dˈ
Respond to any of the following harmonic intervals from the same tonic. Major second
and third, Perfect fourth and fifth by (i) singing both notes and (ii) describing the
interval.
Grade VII
Aural/Visual Observation:
A short piece will be played by the examiner, a copy of which will be given to the candidate.
The candidate to answer questions as follows:
(a)
(after first playing)
i
Name the tonic key of the piece. Keys: Majors and minors to two sharps and
two flats.
ii
Name the relative major/minor.
iii
Name the dominant key.
(b)
(after first or second playing)
i
Point out melodic repetition and sequence.
ii
Point out sections which are musically contrasting.
(c)
(after second playing)
i
Point out the position of a perfect or imperfect cadence.
ii
Point out where the music modulates to the dominant or relative of the tonic.
Memory:
(a)
(b)
Clap or tap from memory the rhythm of the lower line of a short two-part phrase using
treble and bass clefs. The pulse will be given before the first playing. The test will be
played three times.
Sing from memory the upper line of a short two-part phrase (using treble and bass
clefs). The tonic chord and starting note will be sounded before each playing and the
pulse will be given. The test will be played three times.
Reading:
Sing at sight a four-bar melody in 3/4 or 4/4 time.
Note values:
Ä
to
¬
15
Aural Requirements & Theoretical Questions 2015-2018
Pitch: Full minor scale m f si l t d r m f si lˈ (si always preceded and followed by l). Leaps
between adjacent notes of the minor tonic chord m - l - d - m - lˈ
Keys: A, E, D minor
Melodies will begin on the tonic (la) and be within an octave range. An upbeat may be
included. For example:
Intervals:
(a)
(b)
Sing any of the following melodic intervals as requested. The pitch of ‘la’ will be given:
l - d (minor third) and l - f (minor sixth).
Respond to any major and perfect interval from the same tonic by (i) singing both notes
and (ii) describing the interval.
Grade VIII
Aural/Visual Observation:
A short piece will be played by the examiner, a copy of which will be given to the candidate.
The candidate to answer questions as follows:
(a)
(after first playing)
i
Name the tonic key of the piece. Keys: Majors to three sharps and three flats and
minors to two sharps and two flats.
ii
Name the relative of the tonic, the dominant and the sub-dominant keys.
(b)
(after first or second playing)
i
Identify whether the piece falls into two or three natural divisions.
ii
Comment on similarities or differences between these divisions.
(c)
(after second playing)
i
Name the type of cadence at a specified bar (ie perfect, imperfect, plagal and
interrupted).
ii
Identify modulation as being to the dominant or relative of the tonic in specified
bars.
Memory:
Sing from memory the lower line of a short two-part phrase using treble clef only. The tonic
chord and starting note will be sounded before each playing and the pulse will be given. The
test will be played three times.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Reading:
Sing at sight a four-bar melody in 3/4, 4/4 or 6/8 time.
Note values: Ä to ±
Pitch: Full major and melodic minor scales. Leaps in major keys to any notes of the
tonic chord. Leaps in minor keys between any notes of the tonic chord.
Keys: C, G, D, A, F, B flat majors. A, E and D minors.
Melodies will begin on a note of the tonic chord and be within an octave range.
An upbeat may be included. For example:
Intervals and Triads:
(a)
Respond to any of the following: any major or perfect interval, minor third, minor sixth
by (i) singing both notes and (ii) describing the interval.
(b)
Respond to major/minor triads in root position, first inversion and second inversion by:
i
singing the notes.
ii
describing the type and position of the triad.
Senior Certificate
This area is worth a maximum of ten marks.
Aural/Visual Observation:
A short piece will be played by the examiner, a copy of which will be given to the candidate.
The candidate to answer questions as follows:
(a)
i
ii
(b)
Comment on tonality ie name the tonic key and main modulations. Keys:
Majors to three sharps and three flats and minors to three sharps and three flats.
or (Option chosen by examiner)
Identify and describe main cadential points.
After a second playing
Comment on Texture or Structure (technical labels not necessary) or Style/Period (option
chosen by the examiner).
17
Aural Requirements & Theoretical Questions 2015-2018
Memory:
(a)
Sing from memory the lower line of a short two-part phrase using treble stave only. The
tonic chord and starting note will be sounded before each playing and the pulse will be
given. The test will be played three times.
Reading:
(a)
Sing at sight a four-bar melody in 3/4, 4/4 or 6/8 time.
Note values: Ä to ¬
Pitch: Full major and melodic minor scales. Leaps in major keys to any note of the
tonic and dominant chords. Leaps in minor keys to any note of the tonic chord.
Keys: Majors to three sharps and three flats, A, E, D, B minors.
Melodies can begin on any note and will be within an octave range. An upbeat may be
included. For example:
VIVA VOCE
This area is worth a maximum of five marks.
Technical Knowledge:
Candidates will be expected to explain or answer simple questions on the mechanism of their
instrument.
Candidates will be also be expected to demonstrate an understanding of the style of the pieces
performed, to discuss some of the technical demands presented in the chosen pieces, and their
approach to overcoming these difficulties.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
RECITAL CERTIFICATE PROGRAMME
Aim of the Recital Certificate
A polished presentation is expected for the Recital Certificate Programme. Unlike the Grade
examinations, there is a much stronger emphasis on the candidates’ sense of performance and
ability to display a technically secure, well-rounded musical programme. This programme is
open to all disciplines contained within the current syllabus, including duet, chamber music and
ensemble groups.
The aim is to encourage candidates to understand the importance of:
•
Choosing a suitable and creative programme
•
Presenting a written programme of their chosen pieces
•
Sense of communication with the audience / listener
•
Pacing of the recital
•
overall delivery of a polished programme with sense of performance
Categories
The Recital Certificate can be taken at three levels: Junior, Intermediate and Advanced. At each
level the Pass Mark is 70, indicating that the required standard of performance is higher than
expected at a grade exam. For each recital candidates will receive a result sheet as assessment
of their performance, and a certificate and medal will be awarded to successful performers.
Candidates who receive an overall mark between 70-79 will be awarded a Bronze medal.
Candidates who receive an overall mark between 80-89 will be awarded a Silver medal.
Candidates who receive an overall mark of 90 or above will be awarded a Gold Medal.
Junior Recital Certificate
Programme should equate to RIAM Grade II – III standard and should last between 5 – 10
minutes. At least two pieces (or movements of pieces) must be performed.
Intermediate Recital Certificate
Programme should equate to RIAM Grade V – VI standard and should last between 12 – 15
minutes. At least three pieces (or movements of pieces) must be performed.
Advanced Recital Certificate
Programme should equate to RIAM Grade VIII or higher standard and should last between 20
– 25 minutes. At least three pieces (or movements of pieces) must be performed.
Choosing A Programme
Exploring the repertoire for a given instrument and finding out areas of music that suit and
appeal to each student are very important aspects of musical development. The following are
some helpful hints when choosing a suitable programme:
•
Candidates should aim to choose a programme that will display their imagination,
technical strengths and musical preferences.
19
Recital Certificate Programme 2015-2018
•
•
•
•
•
•
•
•
•
•
While candidates may wish to include some material from the Local Centre Syllabus,
they are strongly encouraged to explore and include a wider range of repertoire in their
programme presentation.
Candidates will be assessed on how well the performance engages the listener. The
programme should have musical contrast; for example variety of tempi, moods and /
or pieces from different eras. (It is not compulsory to choose pieces from different eras
but this can be a good way of creating contrast.)
Try to choose music that is most appealing to the candidate as this will help create a
positive experience for both listener and performer. Examiners will assess the Overall
Impression and Choice of Programme. The candidate should enjoy performing the
chosen pieces, so that this is communicated to the audience.
Candidates may wish to consider music from outside of the classical music genre such
as jazz or Irish traditional music. If a jazz piece is featured in the chosen programme,
the performer may like to include an improvisation.
Good quality arrangements from film or popular music may be used.
Candidates may wish to perform one of their own compositions.
Over-use of repeats should be avoided; however Da Capo and Dal Segno should always
be played.
Many instruments have good compilation albums available and these can be a useful
source of repertoire.
Browsing in libraries or in music shops is a useful tool for all musicians, and looking for
a programme for the Recital Certificate will help to develop this useful habit.
Simplified editions of classical repertoire should be avoided as candidates are
encouraged to perform the composer’s original text.
Grading of Pieces
In choosing a programme, it is important to keep in mind the required standard. Where a
candidate chooses a piece that is technically / musically easy for the suggested grade then the
programme should be balanced with pieces which are more difficult than the suggested grade.
On the Day of the Exam
Candidates must present a copy of the music to the examiner. Marks will be deducted for
failure to do so. Candidates must present a written programme to the examiner. Marks will be
deducted for failure to do so. The performer may also choose to announce each piece, though
this is not a requirement. Unlike a grade examination, the performer is in control of the pacing
of the examination and should commence playing at their own ease and continue their
programme without comment from the examiner. The original music for each piece must be
present in the examination room, however the candidate may choose to photocopy extra pages
to avoid awkward page-turns. The examiner will not be in a position to assist with page-turning
during the recital, but it is acceptable for candidates to invite their own page-turner to assist.
Marking of Recital Certificate Programmes
The Recital Certificate is marked under three areas: Technical Ability, Interpretation and Overall
Impression & Choice of Programme.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Technical Ability (30%)
Candidates will be assessed on their technical ability to play each piece. Examiners will be
listening for good clarity and accuracy in the fingerwork. An ability to produce a good tone is
also assessed here. For pianists, pedalling will be assessed. Where appropriate, intonation will
be expected to be secure. For vocalists, diction and pronunciation will be commented and
marked on.
Interpretation (30%)
Candidates general musicality and ability to portray form and phrasing will be assessed in this
section. Other aspects of this mark include dynamics, contrast in articulation and an ability to
set the mood of each piece will be taken into consideration. Stylistically appropriate playing
will be rewarded.
Overall Impression & Choice of Programme (40%)
The overall presentation (including the written programme) will be assessed here. The timing
of the performance is an important aspect of this mark – a programme that is considerably
under the minimum time will be penalised. The ability to communicate and engage with the
listener is assessed. The suitability of the programme to the candidate is taken into
consideration by the examiner – whether the performer showed off their best abilities, whether
moods and styles were captured and if there was a sense of flair and originality.
Communication between performer and accompanist plays an important role and will be
assessed. Facial expression, especially for vocalists, is an important aspect of the overall
impression.
Candidates will be penalised for performing a programme which is shorter than the minimum
permitted length, and they could be asked to discontinue a performance should they be
exceeding the maximum permitted time.
The duration of the submitted programme will be marked under the section entitled Overall
Impression & Choice of Programme.
Candidates are required to present a performance list and original music must be provided for
the examiner.
The Recital Programme will be marked as follows:
(a)
(b)
(c)
Technical Ability
Interpretation
Overall Impression
& Choice of Programme
Pass Mark
30%
30%
40%
70%
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Violin 2015-2018
VIOLIN
No marks will be awarded for incorrect music presented at examination. Candidates using
photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
PRELIMINARY GRADE
Scales & Arpeggios:
One octave: D major. Starting on open string, separate bows, as in
example below:
Three pieces:
Candidates must prepare three pieces, chosen from the following lists,
one of which must be a study.
Edward Huws Jones
Edward Huws Jones
Edward Huws Jones
Murray & Tate
Murray & Tate
Sheila M Nelson
Michael Rose
Paul de Keyser
Waves The Really Easy Violin Book (Faber Music)
Spine Chiller The Really Easy Violin Book (Faber Music)
Javanese Gongs The Really Easy Violin Book (Faber Music)
Evening The Essential Murray and Tate (Boosey & Hawkes)
Swinging The Essential Murray and Tate (Boosey & Hawkes)
Trot Along Piece by Piece 1 (Boosey & Hawkes)
Reverie Fiddler's Ten (Novello)
The Bells of St Basil's Violin Playtime 1 (Faber Music)
Studies
Paul de Keyser
Paul de Keyser
Mary Cohen
Mary Cohen
Climbing the D major Scale Violin Playtime Studies Part 1 (Faber Music)
Tick-tock Quavers Violin Playtime Studies Part 1 (Faber Music)
Blast Off! Superstudies (Faber Music)
Rockets to the Rescue Superstudies (Faber Music)
Sight-reading:
To name and play on the violin any note in the scale of D major, compass
one octave.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
PRIMARY GRADE
Scales & Arpeggios:
One octave: D and A majors. Separate bows, as in the example
below:
Three pieces:
Candidates must prepare three pieces, chosen from the following lists,
one of which must be a study.
Edward Huws Jones
Edward Huws Jones
Edward Huws Jones
Murray & Tate
Murray & Tate
Murray & Tate
Sheila M Nelson
Sheila M Nelson
Sheila M Nelson
Paul de Keyser
Michael Rose
Michael Rose
Tortoise Tango The Really Easy Violin Book (Faber Music)
Dinosaur Plod The Really Easy Violin Book (Faber Music)
Hen Party The Really Easy Violin Book (Faber Music)
Cocks and Hens The Essential Murray and Tate (Boosey & Hawkes)
Holy Holy Holy The Essential Murray and Tate (Boosey & Hawkes)
Do, Do, l'Enfant Do The Essential Murray and Tate (Boosey & Hawkes)
The Tadpole's Tail Piece by Piece 1 (Boosey & Hawkes)
Pizzicato Pie Piece by Piece 1 (Boosey & Hawkes)
Polka Piece by Piece 1 (Boosey & Hawkes)
Song of the Huntsman Violin Playtime 2 (Faber Music)
March Fiddler's Ten (Novello)
Pony Ride Fiddler's Ten (Novello)
Studies
Paul de Keyser
Paul de Keyser
Paul de Keyser
Mary Cohen
Mary Cohen
The See-Saw Violin Playtime Studies Part 1 (Faber Music)
Birdsong Violin Playtime Studies Part 1 (Faber Music)
Puppet on Two Strings Violin Playtime Studies Part 1 (Faber Music)
Operation Space Station Superstudies (Faber Music)
Rocking Rowboats Superstudies (Faber Music)
Sight-reading:
To play a four-bar phrase within the compass of one octave in A or D
major. In 4/4 time using crochet, minim and semibreve rhythms.
23
Violin 2015-2018
GRADE I
Scales & Arpeggios:
D major. A major. One octave. Separate bows.
G major. Two octaves. Separate bows.
D minor. Harmonic or melodic, at the candidate's choice. One octave.
Separate bows.
Rhythm and bowing as in example below:
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other authoritative editions
may be used by candidates if so desired.
LIST A
Michael Rose
Schumann
Anon
Murray & Tate
Sheila M Nelson
Haydn
On the Swing Fiddler's Ten (Novello)
Of Strange Lands and Peoples Starters for Violin (Associate Board)
J'ai du bon tabac Violin Playtime 2 (Faber Music)
French Cradle Song The Essential Murray and Tate (Boosey & Hawkes)
Three Key Rollalong Piece by Piece 2 (Boosey & Hawkes)
Andante Young Violinist's Repertoire 1 - de Keyser (Faber Music)
24
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Adam Carse
Handel
Murray & Tate
Sheila M Nelson
Rameau
Bach
Song without Words First String Tunes (Stainer & Bell)
Minuet from Music for the Royal Fireworks Starters for Violin (Associated
Board)
All Through the Night The Essential Murray and Tate (Boosey & Hawkes)
Mad as a Hatter Piece by Piece 1 (Boosey & Hawkes)
Rigaudon Young Violinist's Repertoire 1 - de Keyser (Faber Music)
March from The Peasant's Cantata Young Violinist's Repertoire 1 de Keyser (Faber Music)
LIST C
Paul de Keyser
Paul de Keyser
Paul de Keyser
Mary Cohen
Mary Cohen
Mary Cohen
Courageous Crotchets Violin Playtime Studies (Faber Music)
Galloping Arpeggios Violin Playtime Studies (Faber Music)
The Little Jester Violin Playtime Studies (Faber Music)
Floating in the Swimming Pool Superstudies (Faber Music)
Wave Machine Superstudies (Faber Music)
Gliding along at the Octopus Ball Superstudies (Faber Music)
Sight-reading:
A very simple passage not more than eight bars in length, 3/4 or
4/4 time. Major keys up to three sharps. Crotchets, quavers,
minims, dotted minims and semibreves; crotchet rests.
25
Violin 2015-2018
GRADE II
Scales & Arpeggios:
E major. One octave.
E minor. D minor and A minor starting on open strings.
Harmonic or melodic, at the candidate's choice. One octave.
Rhythm and bowing as in example below:
G major. A major. Two octaves. Rhythm and bowing as in example
below:
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other authoritative editions
may be used by candidates if so desired.
LIST A
Irish Jig
arr S Nelson
Martini
Mozart
Schubert
Arlen
Michael Rose
Roaring Jelly Piece by Piece 2 (Boosey & Hawkes)
Gavotte Young Violinist's Repertoire 1 - de Keyser (Faber Music)
Lied Violin Music for Beginners (Editio Musica Budapest)
Allemande Violin Music for Beginners (Editio Musica Budapest)
Over the Rainbow What Else Can I Play 3 (Faber Music)
March A Sketchbook for Violin (ABRSM)
26
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Michael Rose
Tchaikovsky
Adam Carse
Elgar
Schumann
Dvořák
Sad Story Fiddler's Ten (Novello)
Morning Song Young Violinist's Repertoire 1 - de Keyser (Faber Music)
Premiere Valse Classic Carse Book 1(Stainer & Bell)
No 4 Andantino Very Easy Pieces op 22 (Bosworth)
Military March Violin Music for Beginners (Editio Musica Budapest)
From Songs my Mother Taught Me Young Violinist’s Repertoire 2 (Faber
Music)
LIST C
Paul de Keyser
Paul de Keyser
Paul de Keyser
Mary Cohen
Mary Cohen
Mary Cohen
Dreaming Violin Playtime Studies (Faber Music)
Rowing on the Lake Violin Playtime Studies (Faber Music)
March Violin Playtime Studies (Faber Music)
Strawberry Milk Shake Superstudies (Faber Music)
Toffee-Nut Fudge Cake Superstudies (Faber Music)
Vanilla Ice Cream Superstudies (Faber Music)
Sight-reading:
A very simple passage in 2/4, 3/4 or 4/4 time. Major keys up to two
sharps. Crotchets, quavers, minims, dotted minims, semibreves; crotchet
and minim rests.
GRADE III
Scales & Arpeggios:
A flat major. E flat major. One octave. Slurred.
E minor. One octave. Harmonic or melodic, at the candidate's choice.
Slurred.
B flat major. Two octaves. Slurred.
G minor. A minor. Harmonic or melodic, at the candidate's choice.
Two octaves. Slurred.
Chromatic scale on open D. One octave. Even notes. Separate bows.
Dominant seventh on open D. One octave. Even notes. Separate bows.
27
Violin 2015-2018
Rhythm and bowing as in examples below:
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other authoritative editions
may be used by candidates if so desired.
LIST A
Bach
Mary Cohen
Handel
Prokofiev
Couperin
Handel
Gavotte from BWV1012 Young Violinist's Repertoire 3 (Faber Music)
Concertino Movement in the style of Vivaldi Superstart Level 2 (Faber
Music)
Bourree from the Water Music First Violin Book 2 (ABRSM)
Troika from Lieutenant Kije Amazing Solos for Violin (Boosey & Hawkes)
La Lutine Classical and Romantic Pieces 3 (OUP)
Musette in G Classical and Romantic Pieces 2 (OUP)
28
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Humperdinck
Michael Rose
Brahms
M Hadju
Carse
Tchaikovsky
Sleep Song First Solo Pieces 1 (Schott)
Burlesque A Sketchbook for Violin (ABRSM)
Lullaby op49 no 4 Universal Violin Album 2 (Universal Edition)
Kolomeika Violin Music for Beginners (Editio Musica Budapest)
Danse Scherzo Classic Carse 2 (Stainer & Bell)
The Sleeping Beauty Waltz Red Hot Violin Grades 3 & 4 (Faber Music)
LIST C
Paul de Keyser
Paul de Keyser
Paul de Keyser
Mary Cohen
Mary Cohen
Mary Cohen
Bariolage Violin Study Time (Faber Music)
Spiccato Study (no 7) Violin Study Time (Faber Music)
Skaters' Waltz Violin Study Time (Faber Music)
Cuckoo? Where's that Cuckoo? Superstudies (Faber Music)
Let's all go to the Grizzly Bear's Grump Superstudies (Faber Music)
Tawny Owl Blues Superstudies (Faber Music)
Sight-reading:
An easy piece in 2/4, 3/4 or 4/4 time up to sixteen bars. Major keys
up to three sharps / E or A minor. Crotchets, dotted crotchets, quavers,
minims, dotted minims, semibreves; crotchet and minim rests,
accidentals (in minor keys only). May use fourth finger as indicated.
GRADE IV
Scales & Arpeggios:
B major. C major. D major. Two octaves. Slurred.
B minor. C minor. D minor. Harmonic or melodic, at the candidate's
choice. Two octaves. Slurred.
Rhythm and bowing as in examples below.
Chromatic scales on A and E. (starting on first finger). One octave.
Even notes. Separate bows.
Dominant sevenths on open G, and on first finger A. One octave. Even
notes. Separate bows.
.
29
Violin 2015-2018
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other authoritative editions
may be used by candidates if so desired.
LIST A
Purcell
(arr Mary Cohen)
Leclair
Corelli
Schnittke
Dvořák
Schubert
Rondo Superpieces 2 (Faber Music)
Sonata in D op 9 no 3 Sarabande (IMC)
Sonata op 5 no 5 Giga: fifth movement Violin Sonatas op 5 vol 1 (Wiener
Urtext)
Suite in the Ancient Style Minuet (Sikorski)
Sonatina in G op 100 Scherzo (Henle)
Minuet and Trio First Solo Pieces 1 (Schott)
LIST B
Jenkinson
Mac Dowell
Tchaikovsky
Tchaikovsky
Torme and Wells
Edward Huws Jones
Elfentanz (Bosworth)
To a Wild Rose First Solo Pieces 1 (Schott)
Neapolitan Song The Young Violinist's Repertoire 4 (Faber Music)
Chanson Triste The Young Violinist's Repertoire 4 (Faber Music)
The Christmas Song What Else can I Play 3 (Faber Music)
Banana Skin Got Those Position Blues? (Faber Music)
LIST C
Paul de Keyser
Paul de Keyser
Paul de Keyser
Kinsey
Kinsey
Wohlfahrt
Polka Violin Study Time (Faber Music)
Study in 3rd Position Violin Study Time (Faber Music)
Irish Song Violin Study Time (Faber Music)
No 9 Elementary Progressive Studies Set 2 (ABRSM)
No 20 Elementary Progressive Studies Set 2 (ABRSM)
No16 Elementary Studies op 54 (Peters Edition)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars. Major keys
up to three sharps / E or A minor. First position only. Crotchets,
quavers, semiquavers, minims, semibreves, dotted rhythms (in
simple time only), accidentals (in minor keys only) and rests.
30
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE V
Scales & Arpeggios:
A flat major. E flat major. Two octaves. (Rhythm as Grade IV).
Scales slurred one octave per bow, arpeggios as in the examples
below.
C sharp minor. E minor. Two octaves. Harmonic or melodic at the
candidate’s choice. Slurred one octave per bow.
G major. Three octaves. Slurred one octave per bow.
G minor. Harmonic or melodic, at the candidate's choice.
Three octaves. Slurred as G major above.
Chromatic on G and A flat. Two octaves. Slurred four OR
six notes per bow, at the candidate’s choice.
Dominant seventh on G and A. Two octaves.
Slurred four notes per bow.
Diminished seventh on open D and open A. One octave.
Separate bows.
31
Violin 2015-2018
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other authoritative editions
may be used by candidates if so desired.
LIST A
Handel
Hadjiev
Mozart
Schubert
Weber
Dvořák
Sonata in F op 1 HWV370: second movement (Henle)
Rondino The Young Violinist's Repertoire 4 (Faber Music)
Allegro from "Allegro & Menuetto" Real Repertoire for Violin (Trinity
Faber Music)
Rosamunde Wonderful World of Schubert (Mayhew)
Air Polonais First Violin book 3 (ABRSM)
Valse op 54 no 4 Universal Violin Album vol 3 (Universal Edition)
LIST B
Kreisler
Portnoff
Kabalevsky
Faure
Grieg
Gounod
Aucassin et Nicolette (Schott)
Russian Fantasia no 3 in A minor (Bosworth)
Scherzo from Albumstucke (Peters Edition)
Sicilienne op 78 (Peters Edition)
Solveig's Song Concert Repertoire for Violin (Faber Music)
Ave Maria (Schott)
LIST C
Wohlfahrt
Wohlfahrt
Wohlfahrt
Kinsey
Kinsey
Kayser
Op 45 no 25 (Peters Edition)
Op 45 no 34 (Peters Edition)
Op 45 no 44 (Peters Edition)
No 21 Elementary Progressive Studies Set 2 (ABRSM)
No 23 Elementary Progressive Studies Set 2 (ABRSM)
Op 20 no 5 (Peters Edition)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars, first
position only. Major keys up to three flats or three sharps. Minor keys
up to two flats or one sharp. Crotchets, quavers, semiquavers, minims,
semibreves, dotted rhythms, rests and accidentals.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE VI
Scales & Arpeggios:
(Two-octave arpeggios slurred six notes per bow. Three-octave
arpeggios slurred three notes per bow)
E major and both minors. F major and both minors. Two octaves.
Slurred one octave per bow.
A major and both minors. Three octaves. Slurred one octave per bow.
Chromatic on A and B flat. Two octaves. Slurred one octave per bow.
Dominant sevenths on B flat and C. Two octaves. Slurred four notes
per bow.
Diminished sevenths on G and A. Two octaves. Slurred four notes per
bow.
Double stops. B flat major in sixths. One octave. In broken steps as
illustrated below:
Three pieces:
Candidates must prepare three pieces: one from each List A, B
and C.
NB: The editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
Bach
Handel
Von Paradis
Telemann
Schubert
Gossec
Sonata in B minor BWV1014: third movement (Henle)
Sonata in E Major: first movement (Peters Edition)
Sicilienne (Schott)
Sonatina no 6 in F TWV 41: first movement Vivace (Peters Edition)
Sonatina in G minor D408: Minuet and Trio (Henle)
Tambourin Classical Violinist Sheila Nelson (Boosey & Hawkes)
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Violin 2015-2018
LIST B
Kreisler
Stravinsky
Dvořák
Reger
Ravel
Bartók
Rondino on a Theme of Beethoven (Schott)
Gavotte and Two Variations from Suite Italienne (Boosey & Hawkes)
Romantic Piece op 75 no 1 (Simrock)
Romance in G (Breitkopf & Härtel)
Berceuse sur le nom de Faure (Durand)
An Evening in the Village Real Repertoire for Violin Grades 46 (Trinity
Repertoire Library, Faber Music)
LIST C
Kreutzer
Wohlfahrt
Wohlfahrt
Kayser
Kayser
Kayser
No 2 (Peters Edition)
Op 45 no 48 (Peters Edition)
Op 45 no 49 (Peters Edition)
Op 20 No 7 (Peters Edition)
Op 20 no 13 (Peters Edition)
Op 20 no 18 (Peters Edition)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars, first and
third position only. Major keys up to three flats or three sharps. Minor
keys up to two flats or one sharp. Crotchets, quavers, semiquavers,
minims, semibreves, dotted rhythms, accidentals and rests.
GRADE VII
Scales & Arpeggios:
(Two-octave arpeggios slurred six notes per bow. Three-octave
arpeggios slurred three notes per bow)
F sharp major and both minors. Two octaves. Slurred one octave per
bow.
B flat major and both minors. C major and both minors.
Three octaves. Slurred one octave per bow.
Chromatic on B and C. Two octaves. Slurred one octave per bow.
Dominant seventh on B. Two octaves. Slurred four notes per bow.
Dominant seventh on G. Three octaves. Slurred four notes per bow.
Diminished sevenths on B and D. Two octaves. Slurred four notes per
bow.
Diminished seventh on G. Three octaves. Slurred four notes per bow.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Double stops:
G major in sixths. One octave. Separate bows. Notes played together.
D major in octaves. One octave. Separate bows. Notes played
together.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
Beethoven
Fiocco
Schubert
Dvořák
Vivaldi
Mozart
Sonata in C minor op 30 no 2: Scherzo (Henle)
Allegro (Schott)
Sonatina in D D384: first movement (Henle)
Sonatina op 100: first movement (Henle)
Concerto in A minor op 3 no 6: first movement (Peters Edition)
Sonata in G K301: first movement (Henle)
LIST B
Boulanger
Schumann
Hubay
Kreisler
Massenet
Gluck arr Kreisler
Nocturne First Violin Book 4 (ABRSM)
Phantasiestuck op 73 Romantic Violinist Sheila Nelson (Boosey & Hawkes)
Bolero op 51 no 3 (Bosworth)
Schon Rosmarin (Schott)
Meditation (Peters Edition)
Melodie (Schott)
LIST C
Kreutzer
Kreutzer
Fiorillo
Mazas
Mazas
Mazas
No 4 (Peters Edition)
No 6 (Peters Edition)
No 1 (Peters Edition)
Op 36 book 1 no 5 (Schirmer)
Op 36 book 1 no 6 (Schirmer)
Op 36 book 1 no 7 (Schirmer)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars, not higher
than third position. Major or minor keys up to three flats or three sharps.
Crotchets, quavers, semiquavers, minims, semibreves, dotted rhythms,
triplet rhythms, accidentals and rests.
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Violin 2015-2018
GRADE VIII
Scales & Arpeggios:
(Arpeggios slurred nine notes per bow.)
A flat major and both minors. B major and both minors. D flat
(C sharp) major and both minors. D major and both minors. Three
octaves. Slurred one octave per bow.
Chromatic on D. Two octaves. Slurred one octave per bow.
Chromatic on G. Three octaves. Slurred one octave per bow.
Dominant sevenths on A flat and B. Three octaves. Slurred one octave
per bow.
Diminished sevenths on A flat and B. Three octaves. Slurred one
octave per bow.
Double stops:
B flat major in thirds. Two octaves. Separate bows. Notes played
together.
E flat major in sixths. Two octaves. Separate bows. Notes played
together.
G minor in octaves. Harmonic and melodic. One octave. Separate
bows. Notes played together.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
NB: The editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Bach
Tartini
Mozart
Beethoven
Haydn
Brahms
Partita in D minor BWV1004 Allemanda (Bärenreiter)
Sonata in G minor “Didone Abandonata” op 1 no 10: first movement
(Ricordi)
Sonata K526: first movement (Henle)
Sonata in G op 30 no 3: first movement (Henle)
Concerto in G major Hob VIIA no 4: first movement (Henle)
Sonata in A major op 100: third movement (Weiner Urtext)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Paganini
Falla
Kodaly
Kreisler
Bartok arr Szekely
Delius
Cantabile (Universal Edition)
Jota from Suite of Spanish Folk Songs (Chester Music)
Adagio (Editio Musica Budapest)
Sicilienne and Rigaudon (Schott)
Romanian Folk Dances nos 1,2,5 and 6 (Universal Edition)
Sonata no 3: third movement (Boosey & Hawkes)
LIST C
Kreutzer
Kreutzer
Kreutzer
Fiorillo
Fiorillo
Kayser
No 8
No 13
No 16
No 5
No 9
Op 20 no 20 (Peters Edition)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars. Major keys
or minor keys up to four flats or four sharps. Crotchets, quavers,
semiquavers, minims, semibreves, dotted rhythms, triplet rhythms,
syncopation, accidentals and rests.
SENIOR CERTIFICATE
Scales & Arpeggios:
(Arpeggios slurred nine notes per bow)
D major and both minors. E flat major and both minors. E major and
both minors. Three octaves. Slurred one octave per bow
Chromatics on A and B. Three octaves. Slurred one octave per bow.
Dominant sevenths on C and D. Three octaves. Slurred one octave
per bow.
Diminished sevenths on C and D. Three octaves. Slurred one octave
per bow.
Double stops:
D major in thirds. Two octaves.
G major in sixths. Two octaves.
G major and both minors in octaves.
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Violin 2015-2018
Rhythm and bowing as in examples below:
Three pieces:
Candidates must prepare three pieces: one from each List A, B
and C.
NB: The editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Bach
Bach
Bach
Mozart
Mozart
Beethoven
Partita in D minor BWV 1004 Giga (Bärenreiter)
Partita in E major BWV1006 Gavotte en Rondeau (Bärenreiter)
Concerto in E major BWV1042: first or third movement
(Bärenreiter)
Concerto in G major K216: first movement (with cadenza)
(Bärenreiter)
Concerto in D major K218: first movement (with cadenza)
(Bärenreiter)
Sonata in F major op 24 “Spring”: first or fourth movement
(Henle)
LIST B
Brahms
Schumann
Franck
Prokofiev
Janacek
Ravel
Sonata in A op 100: first movement (Weiner Urtext)
Sonata in A minor op 105: first movement (Henle)
Sonata: fourth movement (Henle)
Sonata no 2 in D major op 94: third movement (Sikorski)
Sonata: first movement (Universal Edition)
Sonata: second movement (Durand)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST C
Kreisler
Bloch
Gershwin-Heifetz
Präludium and Allegro (Schott)
Nigun from Baal Shem (Carl Fischer)
It Ain't Necessarily So (The Heifetz Collection; Heifetz plays Gershwin
Carl Fischer)
Tchaikovsky
Scherzo from Souvenir d'un Lieu Cher op 42 (IMC)
Falla arr Kochanski Ritual Fire Dance from El Amor Brujo (Chester Music)
Prokofiev
Any THREE of the Five Melodies op 35b (Boosey & Hawkes)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars. Major or
minor keys up to four flats or four sharps. Crotchets, quavers,
semiquavers, minims, semibreves, dotted rhythms, triplet rhythms,
syncopation, accidentals and rests.
39
Viola 2015-2018
VIOLA
No marks will be awarded for incorrect music presented at examination.
Candidates using photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
PRIMARY GRADE
Scales & Arpeggios:
One octave: G and D major. Starting on open strings
separate bows, even notes.
Three Pieces:
Candidates must prepare three pieces chosen from the following list, one
of which may be a study.
Please note that the editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
Colledge
Colledge
Colledge
Colledge
Nelson
Nelson
Nelson
Nelson
Cohen
Cohen
Cohen
Huws Jones
Huws Jones
Sight-reading:
Hills and Dales Waggon Wheels for Viola (Boosey & Hawkes)
Westminster Abbey Waggon Wheels for Viola (Boosey & Hawkes)
Chinese Lanterns Waggon Wheels for Viola (Boosey & Hawkes)
Daydreaming Waggon Wheels for Viola (Boosey & Hawkes)
Trot Along Piece by Piece 1 for Viola (Boosey & Hawkes)
Tweedledum and Tweedleedee Piece by Piece 1 for Viola (Boosey &
Hawkes)
Li’L Liza Jane Piece by Piece 1 for Viola (Boosey & Hawkes)
Polka Piece by Piece 1 for Viola (Boosey & Hawkes)
Blast Off Superstudies for Viola book 1 (Faber Music)
Rockets to the Rescue Superstudies for Viola book 1 (Faber Music)
Robots Rocking at the Microchip Ball Superstudies for Viola book 1 (Faber
Music)
Lazy Blue The Really Easy Viola Book (Faber Music)
Henry’s Almain The Really Easy Viola Book (Faber Music)
A short piece in simple time, G or D major. Crotchets, minims and
semibreves.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE I
Scales & Arpeggios:
One octave: G, A and D major (G and D starting on open strings,
A major starting first finger on G string)
G and D minor (melodic or harmonic)
Two octaves: C major
Rhythm and bowing as in Violin Grade I examples
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
Beethoven
Bach
Losy
Nelson
Nelson
Anon
Hymn to Joy First Repertoire for Viola book 1 (Faber Music)
Chorale First Repertoire for Viola book 1 (Faber Music)
Bourree Early Music for Viola (Editio Musica Budapest)
Cossack Lullaby Piece by Piece 1 for Viola (Boosey & Hawkes)
On the Ice Piece by Piece 1 for Viola (Boosey & Hawkes)
Personent hodie Time Pieces for Viola volume 1 (ABRSM)
LIST B
Baklanova
Beethoven
Nelson
Anon
Purcell
March First Repertoire for Viola book 1 (Faber Music)
Menuetto No 12 Early Music for Viola (Editio Musica Budapest)
C String March Piece by Piece 1 for Viola (Boosey & Hawkes)
Divinum mysterium Time Pieces for Viola volume 1 (ABRSM)
Riggadoon Time Pieces for Viola volume 1 (ABRSM)
LIST C
Traditional
Polish Trad
Hotteterre
Nelson
Bach
Colledge
Shephard’s hey First Repertoire for Viola book 1 (Faber Music)
Grandfather’s Polka First Repertoire for Viola book 1 (Faber Music)
Cotillon Early Music for Viola (Editio Musica Budapest)
Flag Dance Piece by Piece 1 for Viola (Boosey & Hawkes)
Alle Menschen mussen sterben Time Pieces for Viola volume 1 (ABRSM)
Fiddlesticks Waggon Wheels for Viola (Boosey & Hawkes)
Sight-reading:
A short piece in simple time up to eight bars, C or G major.
Crotchets, minims, dotted minims, semibreves; crotchet rests.
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Viola 2015-2018
GRADE II
Scales & Arpeggios:
One octave: B flat major
G and A minor (melodic or harmonic), both starting on G string.
Two octaves: C and D major
Rhythm and bowing as in Violin Grade II examples.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Mozart
Haydn
Schubert
Rae
Smetana
Elgar
Andante The Young Violist volume 1 (Bosworth)
Minuet and Trio Piece by Piece 1 for Viola (Boosey & Hawkes)
Entracte Time Pieces for Viola volume 1 (ABRSM)
Winbledon Waltz Play it Cool (Universal)
Vltava Winners Galore with piano accompaniment (Brass Wind
Publications)
Land of Hope and Glory Winners Galore with piano accompaniment
(Brass Wind Publications)
LIST B
Corelli
Haydn
Mozart
Playford
Rae
Vivaldi
Gavotte The Young Violist volume 1 (Bosworth)
Deutscher Tanz Early Music for Viola (Editio Musica Budapest)
Theme from Andante Grazioso Time Pieces for Viola volume 1 (ABRSM)
The Twenty-Ninth of May Time Pieces for Viola volume 1 (ABRSM)
Bruno’s Tune Play it Cool (Universal Edition)
Winter Winners Galore (Brass Wind Publications)
LIST C
Nelson
Nelson
Bartok
Rae
Rae
Traditional
Whirlpool Waltz Piece by Piece 1 for Viola (Boosey & Hawkes)
Square Dance Piece by Piece 1 for Viola (Boosey & Hawkes)
Jeering Song Time Pieces for Viola volume 1 (ABRSM)
Curtain Up Play it Cool (Universal Edition)
Rumba Play it Cool (Universal Edition)
Hornpipe Winners Galore with piano accompaniment (Brass Wind
Publications)
Sight-reading:
A short piece in simple time up to eight bars: C, G or F major.
Crotchets, quavers, minims, dotted minims, semibreves;
crotchet and minim rests.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE III
Scales & Arpeggios:
One octave: A flat major (on G string) and E flat major (on D string)
B flat minor (melodic or harmonic)
Two octaves: E flat major
C minor (melodic or harmonic)
Rhythm and bowing as in Violin Grade III example
Chromatic scale: one octave, starting on open G, even notes separate
bows
Dominant seventh: one octave, starting on open G, even notes
separate bows
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Mozart
Traditional
Folk song
Bach
Bach
Rieding
Minuet and Trio Chester String Series volume 1 (Chester Music)
Chanson Favorite d’Henri IV Chester String Series volume 1 (Chester
Music)
Danny Boy Winners Galore with piano accompaniment (Brass Wind
Publications)
Polonaise First Repertoire for Viola book 2 (Faber Music)
March No 4 in G Basic Bach (Viola World/Music Sales)
Concerto in B minor: first movement (Bosworth)
LIST B
Cosyn
Rae
Holst
Handel
Beethoven
Folk Song
What You Will Chester String Series volume 1 (Chester Music)
The Guv’nor Play it Cool (Universal Edition)
Theme from Jupiter Time Pieces for Viola volume 1 (ABRSM)
Bourrée The Young Violist Volume 2 (Bosworth)
Sonatina The Young Violist Volume 2 (Bosworth)
Shenandoah Solos for the Viola Player edited by Paul Doktor (Schirmer)
LIST C
Rae
Nelson
Tchaikovsky
Carse
M Cohen
Sight-reading:
Blowin’ Cool Play it Cool (Universal Edition)
Dance of the Minor Thirds Piece by Piece 2 for Viola (Boosey & Hawkes)
March from the Nutcracker Suite Piece by Piece 2 for Viola (Boosey &
Hawkes)
Study no 9 or 12 Viola School of Progressive Studies book 2 (Stainer & Bell)
No 5, 7 or 8 from Superstudies for Viola book 2 (Faber Music)
A short piece in simple time up to sixteen bars. Major keys up to two
sharps / D or A minor. Crotchets, dotted crotchets, quavers, minims,
dotted minims, semibreves; crotchet and minim rests.
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Viola 2015-2018
GRADE IV
Scales & Arpeggios:
Two octaves: E, F, G major
E, F and G minor (melodic or harmonic)
Rhythm and bowings as in Violin Grade IV examples.
Chromatic scales: one octave starting on D and A (first finger on C
and G strings), even notes, separate bows
Dominant seventh: one octave starting on C and D (both on C string)
resolving on the tonic. Even notes, separate bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J S Bach
C P E Bach
Vivaldi
Purcell
Steibelt
Flackton
A Merry Tune Baroque Pieces for Viola (OUP)
Three Little Pieces Chester String Series volume 1 (Chester Music)
At the Hearth The Young Violist volume 2 (Bosworth)
Bourree & Hornpipe Chester Music for Viola (Chester Music)
Andantino L’Alto Classique Volume B (UMP)
Sonata in C major: any two movements (Schott)
LIST B
Traditional
Prokofiev
Handel
Tchaikovsky
Debussy
Saint-Saëns
Sailor’s Hornpipe First Repertoire for Viola book 3 (Faber Music)
March First Repertoire for Viola book 3 (Faber Music)
Menuetto Solos for the Viola Player edited by Paul Doktor (Schirmer)
Chanson Triste Chester Music for Viola (Chester Music)
Beau Soir (IMC)
The Swan arr for Viola (Carl Fisher)
LIST C
Carse
Hewitt-Jones
M Cohen
Sight-reading:
Study no 15 or no 18 or no 19 or no 20 Viola School of Progressive
Studies book 2 (Stainer & Bell)
Rumba from Ragtime, Serenade and Rumba (Musicland/Music Exchange)
No 9 or no 11 or no 12 from Superstudies for Viola book 2 (Faber Music)
A short piece in simple time or 6/8 time up to sixteen bars. Major keys up
to two sharps / E or A minor. Crotchets, quavers, semiquavers, minims,
semibreves, dotted minims, accidentals and rests.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE V
Scales & Arpeggios:
Two octaves: D flat and A flat major
F sharp and A minor (both melodic and harmonic)
Three octaves: C major and C minor (both melodic and harmonic)
All slurred one octave per bow.
Chromatic scales: two octaves starting on C and D flat, slurred four or
six notes per bow.
Dominant seventh: two octaves starting on C and D, slurred 4 notes
per bow
Diminished seventh: one octave starting on open G and open D,
separate bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Vivaldi
Handel
De Caix
D’Hervelois
Bach
G Marie
Veracini
Siciliano Baroque Pieces for Viola (OUP)
Largo Viola Music for Beginners (Editio Musica Budapest)
Tambourin Solos for the Viola Player edited by Paul Doktor (Schirmer)
Prelude from First Suite Bach Cello Suites arranged for Viola by Simon
Rowland –Jones (Peters Edition)
La Cinquantaine (Gerard billaudot)
Largo Music for Viola III (Editio Musica Budapest)
LIST B
Dvořák
Tschaikovsky
Faure
Grieg
Folk Dance
Spiritual
Sonatina op 100: first movement (Viola World/Bosworth Music Sales)
Barcarolle Viola Music for Beginners (Editio Musica Budapest)
Après un Rêve Music for Viola III (Editio Musica Budapest)
No 2 Last Spring from Two Elegiac Melodies Classical and Romantic Pieces
for Viola (OUP)
Boston Fancy Solos for the Viola Player Edited by Paul Doktor (Schirmer)
I’m Just a-goin’ over Jordan Solos for the Viola Player Edited by Paul
Doktor (Schirmer)
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Viola 2015-2018
LIST C
Carse
Mazas
Sight-reading:
Study no 1, no 2, no 3, no 4 or no 5 Viola School of Progressive Studies,
book 3 (Stainer & Bell)
Study no 2, 3, 4 or 5 Special Studies for Viola op 36 book 1 (Schirmer)
A short piece in simple time or 6/8 time up to sixteen bars. Major keys up
to three sharps. Minor keys up to two flats or one sharp. Crotchets,
quavers, semiquavers, minims, semibreves, dotted rhythms, accidentals
and rests.
GRADE VI
Scales & Arpeggios:
Two octaves: A and B flat major
A and B flat minor (melodic and harmonic)
Three octaves: D major and D minor (melodic and harmonic)
All slurred one octave per bow
Chromatic scales: two octaves starting on D and E flat
Slurred one octave per bow
Dominant seventh: two octaves starting on E flat and F
Slurred one octave per bow
Diminished seventh: two octaves starting on C and D
Slurred one octave per bow
Double stops: 1 octave, E flat major in sixths
Rhythm and bowing as in Violin Grade 6 example
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Mozart
Purcell
Bach
Telemann
Telemann
Purcell
Andante Solos for the Viola Player Edited by Paul Doktor (Schirmer)
Dances from King Arthur Classical and Romantic Pieces for Viola (OUP)
Courante Suite no 3 Cello Suites arranged for Viola by Simon RowlandJones (Peters Edition)
Cantabile and Allegro: first and second movements Sonata in E minor
Music for Viola 1 (Editio Musica Budapest)
Concerto in G first and second movements (Bärenreiter)
Chacony in G minor Baroque Pieces for Viola (OUP)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Schubert
Brahms
Tchaikovsky
Fauré
Marais
Albeniz
Adagio Solos for the Viola Player Edited by Paul Doktor (Schirmer)
Von Ewiger Liebe Solos for the Viola Player Edited by Paul Doktor
(Schirmer)
Chant Sans Paroles Viola Music for Beginners (Editio Musica Budapest)
Sicilienne op 78 (Edition Butorac Munchen)
La Basque Five Old French Dances (Chester Music)
Tango L’Alto Classique volume C (any edition)
LIST C
Kreuz
Mazas
Cohen
No 4 or no 5 Select Studies book 3 (Stainer & Bell)
No 6 or no 7 or no 8 Special Studies for Viola op 36, book I (Schirmer)
No 3 The Mandolin Player or No 8 In Old Vienna Techniques Takes Off
for viola (Faber Music)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars. Major keys up
to three sharps. Minor keys up to three flats or one sharp.
GRADE VII
Scales & Arpeggios:
Two octaves: B major and B minor (melodic and harmonic)
Three octaves: E flat and E major and E flat and E minor (melodic and
harmonic)
Scales slurred one octave per bow. Two octaves arpeggios slurred six
notes per bow. Three octaves arpeggios slurred three notes per bow.
Chromatic scales: two octaves starting on E and F
Slurred one octave per bow.
Dominant seventh: two octaves starting on E
Three octaves starting on C
Slurred one octave per bow.
Diminished seventh: 2 octaves starting on E and G
Three octaves starting on C
Slurred one octave per bow.
Double stops: 1 octave C major in sixths; G major in octaves
Separate bows, notes played together.
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Viola 2015-2018
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
J C Bach
J S Bach
Telemann
Karl Stamitz
Kreisler
Handel
Viola Concerto third movement (Salabert)
Gigue from Suite no 3 Cello Suites arranged for Viola by Simon RowlandJones (Peters)
Viola Concerto in G: third and fourth movements (Bärenreiter)
Concerto in D major third movement (Peters Edition)
Sicilienne and Rigaudon (Viola World/Music Sales)
The Harmonious Blacksmith Baroque Pieces for Viola (OUP)
LIST B
Hindemith
Schubert
Reinecke
Bridge
Liszt
Elgar
Brahms
Meditation from Nobilissima Visione (Schott)
The Bee (Viola World at URL: http://www.violaworldpublications.com/)
Fantasiestucke op 43 no 3 (Amadeus)
Allegro Appassionata (Stainer & Bell)
Romance Oubliée (Editio Musica/Boosey & Hawkes)
Chanson du Matin (Novello/Music Sales)
Hungarian Dance no 3 Hungarian Dances arranged Forbes (Peters H-699)
LIST C
Kreutzer
Mazas
M Cohen
No 6 or no 8 or no 12 or no 16 Forty-two Studies for Viola (IMC)
No 10, 12 or 15 Special Studies for Viola op 36, book 1 (Schirmer)
No 11: Sequenza or no 13 Reflection Technique takes off for Viola (Faber
Music)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars. Major keys up
to three sharps. Minor keys up to three flats or two sharps.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE VIII
Scales & Arpeggios:
Three octaves: D flat and F major and C sharp and F minor
(melodic and harmonic)
Scales slurred one octave per bow, Arpeggios slurred three
octaves per bow.
Chromatic scales: two octaves starting on G.
Three octaves starting on C
Slurred one octave per bow.
Dominant seventh: three octaves starting on D flat and E
Slurred one octave per bow
Diminished seventh: three octaves starting on D flat E
Slurred one octave per bow
Double stops: two octaves: separate bows: notes played together
E Flat major in thirds
A flat major in sixths
C major in octaves
One octave; G minor (melodic and harmonic) in octaves
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J S Bach
Hoffmeister
Zelter
Weber
Telemann
Boccherini
Tartini
Bourrée 1 and 2 Suite no 4 Cello Suites arr for Viola by Simon
Rowland-Jones (Peters Edition)
Viola Concerto in D major: first movement (Grahl or Peters)
Viola Concerto in E flat major: first movement (Grahl or Peters)
Andante and Hungarian Rondo (Schott)
Fantasia no 7 in A flat: first and second movements, (Dolce &
Allegro) 12 Fantasies vol 2 (Bärenreiter)
Sonata no 3 in G: first and second movements, Largo and
Allegro alla Militare arranged for viola (IMC 821)
Sonata Angelique op 1 no 10 arr Arnold: first movement (Adagio)
(Viola World /Music Sales)
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Viola 2015-2018
LIST B
Bartók
Fauré
Villa-Lobos
J Kinsella
Hindemith
Britten
Schumann
LIST C
Kreutzer
Mazas
Sight-reading:
Roumanian Folk Dances no 1, 2, 5 and 6 arranged Szekely (Viola
World/Music Sales)
Elegy op 24 (IMC)
Bachianas Brasileiras no 3: Aria (Schirmer/Music Sales)
Dialogue for Viola (CMC)
Trauermusik (Schott)
Elegie for unaccompanied viola (Faber Music)
Adagio and Allegro op 70 (Peters)
Study no 13 or no 17 or no 24 or no 26 or no 30 Forty-two Studies for
Viola (IMC)
Study no 20 or no 24 or no 28 Special Studies for Viola op 36 book 1
(Schirmer)
A short piece in simple time or 6/8 time up to sixteen bars. Major keys
up to three sharps. Minor keys up to three flats or two sharps.
SENIOR CERTIFICATE
Scales & Arpeggios:
Three octaves: E, F, F sharp and G major and both minors
Slurred one octave per bow.
Chromatic scales: three octaves starting on D and E
Slurred one octave per bow.
Dominant seventh: three octaves starting on E flat, F, and G
Slurred one octave per bow.
Diminished seventh: three octaves starting on E flat, F and G
Slurred one octave per bow.
Double stops: two octaves, slurred two notes per bow
G major in thirds
C major in sixths
D major and both minors in octaves
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
J S Bach
J S Bach
Telemann
Handel
Prelude from Second, Third or Fourth Suite Bach Cello Suites arranged
for viola by Simon Rowland-Jones (Peters Edition)
Viola da Gamba sonata no 3 in G minor BWV 1029 arr Forbes: first
movement (Peters EP-4286A)
Sonata in B flat (Schott VAB 35)
Concerto in B minor: first movement (Max Eschig)
LIST B
Bruch
Glinka
Schubert
Shostakovitch
Schumann
Romance in F major (Schott)
Sonata in D minor: first movement (Musica Rara/Kalmus)
Arpeggione Sonata: first movement (Doblinger/Kalmus) or (Peters
Edition)
Sonata op 147: first or second movement (Schott/MDS)
No 1 and 2 from Märchenbilder op 113 (Henle)
LIST C
A Herschel Hill
H Blake
Vaughan Williams
Kodaly
Maconchy
Two pieces: Poem and Novelette (Stainer & Bell)
Prelude for Solo Viola (from Benedictus) (Faber Music)
Suite group 1 (complete) (OUP)
Adagio (Editio Musica Budapest/Boosey & Hawkes)
Five Sketches for viola: any two (Chester Music)
Sight-reading:
A short piece in simple time or 6/8 time up to sixteen bars. Major or
minor keys up to four flats or four sharps.
51
Violoncello 2015-2018
VIOLONCELLO
No marks will be awarded for incorrect music presented at examination. Candidates using
photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
PRIMARY GRADE
Technical Requirements
Scales:
G and D major. Starting on open strings G and D. Compass one octave.
Bowing – separate bows as in example below.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
Blackwell
Blackwell
Blackwell
Anon
Handel
Haydn
Lumsden &
Attwood
Attwood
Carse
No 1: Start the Show Cello Time Runners (OUP)
No 6: Spy Movie Cello Time Runners (OUP)
No 7: Gypsy Dance Cello Time Runners (OUP)
Italian Rant Time Pieces for Cello vol 1 arr Black & Harris (ABRSM)
Minuet Time Pieces for Cello vol 1 arr Black & Harris (ABRSM)
Trio Time Pieces for Cello vol 1 arr Black & Harris (ABRSM)
Trick, Treat or Tango Witches’ Brew (Peters Edition)
Hubble, Bubble, here comes trouble Witches’ Brew (Peters Edition)
Black Cat White Rat Witches’ Brew (Peters Edition)
Martial Steps The Fiddler’s Nursery (Stainer & Bell)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Bullard
Bullard
Bullard
Purcell
At the Castle Gates, Party Time (ABRSM)
Rock the Boat Party Time (ABRSM)
Bluesy-boogie Party Time (ABRSM)
No 4: Rigaudon Violoncello Music for Beginners book 1(Editio Musica
Budapest)
Küffner
No 18: Ländler Violoncello Music for Beginners book 1 (Editio Musica
Budapest)
L Ács
No 25: Bear’s Dance Violoncello Music for Beginners book 1 (Editio Musica
Budapest)
Lumsden & Attwood Casting a Spell Witches’ Brew (Peters Edition)
Lumsden & Attwood Into the Cauldron Cookpot, Witches’ Brew (Peters Edition)
Lumsden & Attwood Boiled and Roasted, Witches’ Brew (Peters Edition)
Carse
Waltz The Fiddler’s Nursery (Stainer & Bell)
Brahms
No 5 The Blacksmith Easy Classics for Cello (OUP)
LIST C
Bullard
Bullard
Bullard
Nelson
In the Groove Party Time (ABRSM)
Square Dance Party Time (ABRSM)
Hungarian Dance Party Time (ABRSM)
No 15: Octopiece Piece by Piece 1 for Cello and Piano arr Nelson (Boosey &
Hawkes)
Nelson
No 17: Flag Dance Piece by Piece 1 for Cello and Piano arr Nelson (Boosey &
Hawkes)
Nelson
No 3: Whirlpool Waltz Piece by Piece 1 for Cello and Piano arr Nelson
(Boosey & Hawkes)
Lumsden & Attwood Wizard’s Potion Wizard’s Potion (Peters Edition)
Lumsden & Attwood Dizzy Lizzy Lightweight, Wizard’s Potion (Peters Edition)
Lumsden & Attwood Wizard United, Wizard’s Potion (Peters Edition)
Lumsden & Attwood Hocus Pocus here’s the plan, Wizard’s Potion (Peters Edition)
Handel
No 7 A Trifle Easy Classics for the Cello (OUP)
Alternative to List C
Candidates may choose one of the following as an alternative to List C:
Benoy & Burrowes No 28 or 36 or 37 or 40 or 41, First Year Cello Method (Novello)
Sight-reading:
Simple time, up to eight bars, C, G or D Major
Crotchets, minims, semibreves.
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Violoncello 2015-2018
GRADE I
Technical Requirements
Scales:
C, G & D major, starting on open strings, compass one octave. Bowing separate bows as for Primary Grade and slurred two notes to a bow as
in example below. Even notes or long tonic (see Grade II) at candidate’s
choice.
Arpeggios:
Of the above keys, compass one octave. Bowing - separate bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other authoritative
editions may be used by candidates if so desired.
LIST A
Mozart
Schubert
Colledge
Colledge
Haydn
Brahms
Haydn
No 14: German dance Violoncello Music for Beginners (Editio Musica
Budapest)
No 19: Lullaby Violoncello Music for Beginners (Editio Musica Budapest)
Weeping Willow Fast Forward (Boosey & Hawkes)
Hornpipe Fast Forward (Boosey & Hawkes)
Trio Time Pieces for Cello vol 1 by Black & Harris (ABRSM)
The Little Sandman Time Pieces for Cello vol 1 by Black & Harris (ABRSM)
Poco Adagio More Time Pieces for Cello vol 1 (ABRSM)
LIST B
Saint-Saëns
Harris
Blackwell
Blackwell
Blackwell
Legg & Gout
Legg & Gout
Purcell
The Elephant Time Pieces for Cello vol 1 by Black & Harris (ABRSM)
March of the Stegosaurus Time Pieces for Cello vol 1 by Black & Harris
(ABRSM)
No 10: That’s how it goes Cello Time Runners book 2 (OUP)
No 19: Cello Time Rag Cello Time Runners book 2 (OUP)
No 25: Mexican Fiesta Cello Time Runners book 2 (OUP)
The Cowboy’s Lament First Repertoire for Cello book 1 (Faber Music)
Scarborough Fair First Repertoire for Cello book 1 (Faber Music)
March Classical Pieces from the beginning book 2 (Schott)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST C
arr Huws Jones
The Fairy Dance Jigs, Reels, & More (Boosey & Hawkes)
arr Huws Jones
Kershaw
Kershaw
Kinsella
Norton
Old French chanson
The Irish Washerwoman Jigs, Reels, & More (Boosey & Hawkes)
March the first Mellow Cello (Fentone)
Question & Answer Mellow Cello (Fentone)
Upstairs, Downstairs Upstairs, Downstairs (CMC)
Snooker Table Microjazz for Cello book 1 (Boosey & Hawkes)
Il est né, le divin enfant Classical Pieces from the beginning (Schott)
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
P Legg
No 1 or 3a or 3b or 4 or 5 or 6 Superstudies book 1(Faber Music)
Benoy &
Burrowes
No 5 or no 30 The Second Year Cello Method (Novello)
J Dickson
No 1 Rocking Scale, from Freedom of the Fingerboard (Spartan Press)
Sight-reading:
Simple time, up to eight bars, G, D or F Major
Crotchets, minims, dotted minims, semibreves.
GRADE II
Technical Requirements
Scales:
C and G major, compass two octaves. F, A, B flat and D major,
compass one octave (scale of D starting on open string). D minor,
compass one octave (in melodic or harmonic form), starting on open
string. Bowing - separate bows and slurred as in example below.
Even notes or long tonic (at candidate’s choice).
Arpeggios:
C major, compass two octaves. F, G, A, B flat and D major, compass
one octave. D minor, compass one octave.
Bowing - separate bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
55
Violoncello 2015-2018
LIST A
Morley
Haydn
Bach
Bach
von Weber
Paganini
Bach
Carse
LIST B
Blackwell
Blackwell
B József
S Szokolay
Sullivan
Verdi
Handel
Tchaikovsky
Now is the month of Maying Time Pieces for Cello, book 2, by C Black &
P Harris (ABRSM)
Andante Time Pieces for Cello by C Black & P Harris, vol II (ABRSM)
March in G Bach for the Cello, trans C Krane (Schirmer)
Minuet in C Bach for the Cello, trans C Krane (Schirmer)
No 6: Hunter’s chorus, Suzuki Cello School, vol 2 (revised edition)
(IMP/Music Sales : piano accompaniment published separately)
No 9: Theme from “The Witches’ Dance” Suzuki Cello School vol 2
(revised edition) (IMP/Music Sales : piano accompaniment published
separately)
“Air” from the Peasant Cartata More Time Pieces for Cello vol 1 (ABRSM)
Dance Steps The Fiddler’s Nursery (Stainer & Bell)
No 31: Aerobics Cello Time Runners book 2 (OUP)
No 32: Hungarian Folk Dance Cello Time Runners book 2 (OUP)
No 23: Hungarian Dance Violoncello Music for Beginners book 1 (Edition
Musica Budapest)
No 28 part 2: Bagpipe Song Violoncello Music for Beginners book 1 (Editio
Musica Budapest)
The Sun whose Rays (from ‘The Mikado’) A Night at the Opera arr
Wells (Kevin Mayhew)
Triumphal March (from ‘Aida’) A Night at the Opera arr Wells (Kevin
Mayhew)
No 6 March, Easy Classics for the Cello (OUP)
No 4 An Old French Song Easy Classics for the Cello (OUP)
LIST C
arr Waterfield
& Beach
McMillan
McMillan
Kinsella
Kinsella
Carse
The Railroad Corral, O Shenandoah! (Faber Music)
“Hi” says the blackbird, O Shenandoah! (Faber Music)
Celtic Hymn Northern Skies (Boosey & Hawkes)
Barn Dance Northern Skies (Boosey & Hawkes)
Aoife’s Lament Upstairs, Downstairs (CMC)
Aisling’s Dreams Upstairs, Downstairs (CMC)
Free from Care The Fiddler’s Nursery (Stainer & Bell)
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
P Legg
No 1or no 2 or no 5 or no 8 Superstudies for Cello book 1 (Faber Music)
Bosanquet
Twinkle (Cello 1 page 7) Fun with Cello Harmonics (S J Scott music no
D2000-3)
J Dickson
No 2 Sliding scale from Freedom of the Fingerboard (Spartan Press)
Sight-reading:
Simple time, up to eight bars, C, G or D Major
Crotchets, quavers, minims, semibreves, rests.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE III
Technical Requirements
Scales:
C, D, F and G major, compass two octaves.
C and G minor, compass one octave (in melodic or harmonic form).
Bowing - separate and slurred as for Grade II. Even notes or long
tonic at candidate’s choice.
Arpeggios:
Of the above keys, compass as for scales. Bowing - separate bows.
Dominant sevenths:
Starting on open C, G and D (in the keys of F, C and G) compass one
octave and resolving on the tonic.
Bowing - separate bows, rhythm as in example below.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Galliard
Lully
Haydn
Mozart
Marcello
Paxton
Carse
Hornpipe a l’Inglese First Repertoire for Cello book 2 arr Legg & Gout
(Faber Music)
Gavotte and Musette First Repertoire for Cello book 2 arr Legg & Gout
(Faber Music)
No 24: Menuet & Trio Violoncello Music for Beginners book 2 (Editio
Musica Budapest)
No 30: Kontretanz Violoncello Music for Beginners book 2 (Editio Musica
Budapest)
Sonata in E minor op 2 No 5: third movement, Largo (Peters Edition)
Sonata no 2: first movement, First Repertoire for Cello, book 2 arr Legg &
Gout (Faber Music)
At Dawn The Fiddler’s Nursery (Stainer & Bell)
LIST B
Blackwell
Blackwell
Colledge
Colledge
Colledge
arr Waterfield
& Beach
Smetana
No 1: Carnival Jig Cello Time Sprinters book 3 (OUP)
No 6: Ouverture Cello Time Sprinters book 3 (OUP)
No 10: Coconuts & Mangoes Shooting Stars (Boosey & Hawkes)
No 13: Cossacks Shooting Stars (Boosey & Hawkes)
No 21: Tarantella Shooting Stars (Boosey & Hawkes)
Groundhog O Shenandoah! (Faber Music)
Vltava More Time Pieces for Cello book 1 (ABRSM)
57
Violoncello 2015-2018
LIST C
Wedgwood
Holst
Prokofiev
arr Waterfield
& Beach
Kinsella
Kinsella
Kinsella
Tchaikovsky
No 2: Hungarian Stomp Jazzin’ about (Faber Music)
Jupiter’s Theme (from ‘the Planets’) Ten Easy Tunes arr B & R de Smet
(Fentone)
Two themes from ‘Peter and the Wolf’ Classic Experience Encores – cello
(Cramer)
Cape Cod shanty O Shenandoah! (Faber Music)
No 2: Spinning Wheel Song Upstairs, Downstairs (CMC)
No 3: The Old Rabbit Upstairs, Downstairs (CMC)
No 5: The Broken Carousel Upstairs, Downstairs (CMC)
Rococo Theme More Time Pieces for Cello vol 1 (ABRSM)
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
P Legg
No 7 or no 15 or no 16 Superstudies book 1 (Faber Music)
Mooney
The Tired Tortoise Position Pieces for Cello book 1 (IMP/Music Sales)
Mooney
The Whale’s Song Position Pieces for Cello book 1 (IMP/Music Sales)
J Dickson
No 10 High Jumps from Freedom of the Fingerboard (Spartan Press)
Mooney
Go tell Aunt Rhody Double Stops for Cello (IMP/Music Sales)
Sight-reading:
Simple time, up to eight bars
Major keys up to three sharps or two flats
Crotchets, quavers, minims, dotted crotchets, rests.
GRADE IV
Technical Requirements
Scales:
C, D, E flat, G & B flat majors, compass two octaves.
C, D and G minors, compass two octaves (in melodic and harmonic
form).
Bowing - separate bows and slurred as in example below. Even notes
or long tonic (see Grade II) at candidate’s choice.
Arpeggios:
Of the above keys, compass as for scales.
Bowing - separate and slurred, three notes to a bow.
Dominant sevenths:
Starting on C and D (in the keys of F and G) compass two octaves and
resolving on the tonic. Bowing - separate bows.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Chromatic Scales:
Starting on open C, G & D, compass one octave.
Bowing - separate bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Torelli
Cirri
Marcello
Breval
De Fesch
Paxton
Grainger
Hasse
Tartini
Sonata in G: fourth movement, Allegro (Bärenreiter HM 69)
Sonata no 3 in F: first movement, Allegro (Heinrichshofen HG
1283A/Peters Edition)
Sonata in G op 2 no 6: fourth movement, Allegro (Peters P-7394)
Sonata in C major: first movement, Allegro (IMC)
Sonata in C op 8 no 4: third movement, Minuetto (Peters Edition)
Sonata in G op 5 no 3: Allegro moderato (Schott ED 11051)
Shepherd’s Hey More Time Pieces for Cello vol 2 (ABRSM)
Zwei Tänze Old Masters for Young Players (Schott)
Sarabande Old Masters for Young Players (Schott)
LIST B
Dawe
Weissenborn
Dvořák
Webster
Bach
Grieg
Romberg
Hofmann
Dvořák
No 44: The Gypsy Fiddler New Road to String Playing, book 3 (Cramer.
Piano accompaniment published separately)
No 4: Humoreske First Repertoire for Cello book 3 arr Legg & Gout (Faber
Music)
American Quartet (no 9): second movement First Repertoire for Cello
book 3 arr Legg & Gout (Faber Music)
No 4: Scherzo Suzuki Cello School vol 3, revised edition (Summy-Birchard.
Piano accompaniment published separately)
No 6: Polacca Classical and Romantic Pieces arr Watson Forbes (OUP)
No 12: Norwegian Dance Classical and Romantic Pieces arr Watson
Forbes (OUP)
Schwedisch Classical Pieces from the Beginning (Schott)
Andante Classical Pieces from the Beginning book 2 (Schott)
Slavonic Dance More Time Pieces for Cello vol 1 (ABRSM)
LIST C
Graves
von Gluck
Harris
Gershwin
Kershaw
Denza
Simons
Wood
Third movement: ‘It is Market Day in the Square’ Cathedral City
(Schott)
Dance of the Blessed Spirits from ‘Orfeo’ Time Pieces for Cello book 3
(ABRSM)
Black and White Blues Time Pieces for Cello, book 3 (ABRSM)
Let’s call the whole thing off Play Gershwin (Faber Music)
Back to School Blues Mellow Cello (Fentone)
Funiculì,funiculà More Time Pieces for Cello vol 1 (ABRSM)
The Peanut Vendor More Time Pieces for Cello vol 1(ABRSM)
Tom Bowling More Time Pieces for Cello vol 2 (ABRSM)
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Violoncello 2015-2018
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
P Legg
No 1 or no 4 or no 8 Superstudies book 2 (Faber Music)
Mooney
Busy Bees Position Pieces for Cello book 1 (IMP/Music Sales)
Mooney
The Hippopotamus’ Dance Position Pieces for Cello book 1 (IMP/Music
Sales)
J Dickson
No 16 Olympic High Jumps from Freedom of the Fingerboard (Spartan
Press)
Mooney
Cockles and Mussels Double Stops for Cello (IMP/Music Sales)
Sight-reading:
Simple or 6/8 time, up to eight bars
Major keys up to three sharps or three flats, or A minor
Crotchets, quavers, minims, semibreves, dotted rhythms, tied notes,
rests, accidentals.
GRADE V
Technical Requirements
Scales:
C major, compass three octaves.
E flat, E, F, A flat and A majors, compass two octaves.
C, D, G and A minors, compass two octaves (melodic and harmonic).
Bowing - slurred as for Grade IV and separate as in examples below.
Even notes or long tonic (see Grade II) at candidate’s choice.
Two octaves:
Three octaves:
Arpeggios:
Of the above keys, compass two octaves (C major arpeggio two
octaves). Bowing - separate and slurred, three notes to a bow.
Dominant sevenths:
Starting on C and D (in the keys of F and G) resolving on the tonic,
compass two octaves - separate bows and slurred four notes to a bow.
Diminished Sevenths:
Starting on C and D - compass two octaves.
Bowing - separate bows.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Chromatic Scales:
Starting on C and D - compass two octaves.
Bowing - separate bows and slurred four or six notes to a bow.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Haydn
De Fesch
Marcello
Flackton
Vivaldi
Passionei
Bazelaire
Saint-Saëns
Scherzando in G major Cello Meets Piano (Kevin Mayhew)
Sonata in C op 8 no 3: second movement, Allemanda (Peters Edition)
Sonata in E minor op 2 no 2: second movement, Allegro (Peters EP
7423)
Sonata no 3 in F: Minuet and Variations (Schott ED 11056)
Concerto in C major RV 399: first movement, Allegro
(Kunzelmann/Peters GM 963)
Sonata in C: second movement, Allegro, Cello Meets Piano (Kevin
Mayhew)
Bourrée d’Auvergne No 1 Suite Francaise op 114 (Schott)
The Elephant (Peters No 7500)
LIST B
Dvořák
Tchaikovsky
Massenet
Borodin
Tchaikovsky
McMillan
Russian Folk Song
Squire
Appassionato op 75 no 3, Cello Meets Piano (Kevin Mayhew)
Chanson Triste op 40 no 2 Cello Meets Piano (Kevin Mayhew)
Melodie-élegie des Erinnyes op 10 no 5 Salonstücke for Cello vol1
(Kunzelmann) or separately (Jobert/UMP)
Nocturne from String quartet no 2 Classic Experience: Encores for Cello
(Cramer)
Waltz from the Sleeping Beauty Classic Experience: Encores for Cello
(Cramer)
No 6: Sabre Dance Northern Skies (Boosey & Hawkes)
Kalinka Learning the tenor clef Legg & Gout (Faber Music)
Humoresque (Stainer & Bell)
LIST C
Groocock
Jacob
Brahms
Shostakovitch
arr Otty
Jacobson
arr Huws Jones
Catalan Folk Song
Bizet
Joplin
Sonata in C: first movement, Moderato (Drummartin Music)
Robot’s March The Contemporary Cellist, book 2 (ABRSM) or Time Pieces
for Cello vol 2 (ABRSM)
Hungarian Dance no 5 Cellowise (Spartan Press Music SP898)
Romance from “The Gadfly” (Stuart J Scott)
Hip hip bourrée Unbeaten Tracks (Faber Music)
Drowsy Maggie Jigs & Reels & More (Boosey & Hawkes)
Song of the birds Learning the Tenor Clef Legg& Gout (Faber Music)
Entr’acte from Carmen More time pieces for cello vol 2 (ABRSM)
Easy Winners More Time Pieces for Cello vol 2 (ABRSM)
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Violoncello 2015-2018
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
Cohen
No 1 or no 2 or no 5 Technique takes off! (Faber Music)
Mooney
Mooney
Bunting
Mooney
Sight-reading:
Oh Susannah Thumb Position for the Cello book 1 (IMP/Music
Sales)
The Blue Bells of Scotland Thumb Position for the Cello book 1 (IMP/Music
Sales)
No 4: Bowing Patterns no 1-7 inclusive A Portfolio of Cello Exercises part
one (Sangeeta Publications / S J Scott)
When Johnny Comes Marching Home Double Stops for Cello (IMP/Music
Sales)
Simple or 6/8 time, up to eight bars
Major keys up to three sharps or three flats, minor keys up to three
flats
Crotchets, quavers, semiquavers, minims, dotted rhythms, tied notes,
rests, accidentals.
GRADE VI
Technical Requirements
Scales:
C and D majors, compass three octaves.
E, F sharp, A flat, B flat majors, compass two octaves.
C and D minors, compass three octaves.
E, F sharp, G sharp minor, and B flat minor, compass two octaves
(melodic and harmonic).
Rhythm as shown in the example below. Separate bows and slurred seven
notes to a bow. Even notes or long tonic (see Grade II) at candidate’s
choice.
Arpeggios:
Of the above keys, compass as for the scales. Bowing - separate and
slurred three notes to a bow.
Dominant sevenths:
Starting on F and F sharp (in the keys of B flat and B) resolving on
the tonic, compass two octaves. Bowing - separate bows and slurred four
notes to a bow.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Diminished Sevenths:
Starting on C sharp and G sharp - compass two octaves.
Bowing - separate bows, even notes.
Chromatic Scales:
Starting on C, C sharp and D, compass two octaves.
Bowing - separate bows and slurred four or six notes to a bow.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Bach
Telemann
von Paradis
Bach
de Fesch
Vivaldi
Bazelaire
Largo from Cantata no 156 Largos from Bach & Handel (Kunzelmann/Peters
GM525)
Sonata in D major: second movement, Allegro, Cello Meets Piano
(Kõnnemann/Kevin Mayhew)
Sicilienne arr Dushkin (Schott)
Suite no 1 in G major: Menuet I & II Six Solo Cello Suites (Bärenreiter
BA 320)
Sonata op 8 no 4: first and second movements, Largo and Vivace,
(Peters Edition)
Sonata no 1 in B flat RV 47: third and fourth movements, Largo and
Allegro Vivaldi: Nine Sonatas for Cello (Editio Musica Budapest/Boosey &
Hawkes) or Vivaldi: Six Sonatas for Cello (Schott)
No 5 Montagnarde d’ Auvergne Suite Française op 114 (Schott)
LIST B
Squire
Mendlessohn
Järnefelt
Poulenc
Glazunov
Vaughan Williams
Goltermann
Irish Melody
Dance Rustique op 20 no 5 (Stainer & Bell)
Song without Words op 109 (Stainer & Bell)
Berceuse (Chester Music)
Sérénade (Heugel & Co)
Sérénade Espagnole op 20 no 2 (Peters Edition)
Fantasia on ‘Greensleeves’ arr Forbes (OUP)
Prelude More Time Pieces for Cello vol 2 (ABRSM)
Air from Co Derry Learning the Tenor Clef Legg & Gout (Faber Music)
LIST C
J Gibson
Saint-Saëns
Sonatina, second movement (CMC)
Le Cygne (The swan) from ‘The Carnival of the Animals’ The Complete
Shorter Works for Cello and Piano ed Isserlis (Faber Music) or published
separately (Durand)
Bunting
Dance Caprice (OUP)
Joplin arr C Cowles Maple Leaf Rag Ragtime Favourites (Fentone)
Minsky
No 1: The Train Whistle Ten American Cello Etudes (OUP)
Minsky
No 2: Truckin’ thru’ the South Ten American Cello Etudes (OUP)
T Cullivan
Nocturne (CMC)
Sulkhan Tsintsadze Chonguri Steven Isserlis’s Cello World (Faber Music)
Austin
Captain Cockchafer More Time Pieces for Cello vol 2 (ABRSM)
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Violoncello 2015-2018
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
Cohen
No 6 or no 7 or no 8 Technique Takes Off (Faber Music)
Bunting
Popper
Mooney
Sight-reading:
No 4 (bowing patterns) no 8-12 inclusive, A Portfolio of Cello Exercises, part
one (Sangeeta Publications)
Study no 15 Fifteen Studies op 76 (IMC 1339)
Believe me, of all those endearing young charms Double Stops for Cello
(IMP/Music Sales)
Simple or 6/8 time, up to 12 bars
Major and minor keys up to three sharps or three flats
GRADE VII
Technical Requirements
Scales:
Major scales of D flat, D, E and F, compass three octaves.
Minor scales of C sharp, D, E and F, compass three octaves (melodic and
harmonic).
Bowing - separate as for Grade V and slurred seven notes to a bow as in
example below. Even notes or long tonic (see Grade II) at candidate’s
choice.
Arpeggios:
Of the above keys - compass as for scales.
Bowing - separate and slurred three notes to a bow.
Dominant sevenths:
Starting on C sharp, D, E and F (in the keys of F sharp, G, A and B flat)
resolving on the tonic, compass two octaves.
Bowing - separate and slurred four notes to a bow.
Diminished Sevenths:
Starting on C sharp, D and F - compass two octaves.
Bowing - separate and slurred, four to a bow.
Chromatic Scales:
On E, F, F sharp & G - compass two octaves.
Bowing - separate bows and slurred, twelve notes to a bow.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Double Stops:
C major in sixths - compass one octave.
Bowing - in broken chords as in example below.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Bach
Boccherini
Bach
Paxton
Vivaldi
Albrechtsberger
Sammartini
Suite no 2 in D minor: Courante, Six Solo Cello Suites (Bärenreiter BA 320)
Sonata no 4 in F major, G1: third movement, Amoroso Boccherini Sonatas
for Violoncello vol 1 (Ricordi /UMP)
Sonata no 1 in G for viola da gamba BWV1027: fourth movement,
Allegro moderato (Henle or Faber Music)
Sonata in A op 1 no 1: first movement, Allegro moderato (Schott 11057)
Concerto in G major RV 414: first movement, Allegro molto, Six Great
Cello Concertos (Ricordi)
First movement: Scherzando Cello Meets Piano (Kõnnemann/Kevin Mayhew)
First movement: Allegro non troppo Sonata in G major (Schott) CB55
LIST B
Squire
Tchaikovsky
Popper
Rachmaninoff
Schumann
Enescu
Elgar
Schumann
Tarantella (Stainer & Bell)
Nocturne op 19 no 4 trans Fitzenhagen Famous Transcriptions for Cello and
Piano ed Skocic (Universal 19612/MDS) or (Kalmus/IMC 1606)
Gavotte no 2 op 23 (IMC 1607) also in Popper Concert Pieces (EMB)
Vocalise op 34 no 14 (Boosey & Hawkes)
Fantasiestücke op 73: no 1, Zart und mit Ausdruck (Peters Edition)
Saltarello from Nocturne et Saltarello (Schott)
Chanson de martin Learning the Tenor Clef Legg & Gout (Faber Music)
Intermezzo Steven Isserlis’s Cello World (Faber Music)
LIST C
Schumann
Bloch
E Farrell
S Joplin
Matthews
E Sweeney
Rachmaninov
Minsky
Stücke im Volkston op 102: no 1 or no 4 Compositions for cello
(Peters P-2373)
Supplication from Jewish life: no 2 (Fischer/Boosey & Hawkes)
Still Song, for solo cello (CMC)
The Strenuous Life Cello Meets Piano (Kõnnemann/Kevin Mayhew)
Tango Flageoletto Unbeaten Tracks, ed Steven Isserlis (Faber Music)
Mandala 3 (Beaumaris Publications)
Lied Steven Isserlis’s Cello World (Faber Music)
No 2 New Orleans Jazzman Ten International Encores (OUP)
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Violoncello 2015-2018
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
Duport
No 7 Twenty-one Etudes for the Violoncello book 1 (Schirmer)
Dotzauer
No 36 or no 37 or no 39 or no 40 Forty Studies (Stainer & Bell)
Bunting
No 7: String Crossing Mini Workout no 1-6 inclusive A Portfolio of Cello
Exercises part two (Sangeeta Publications)
V Kennedy
Étude (CMC)
Sight-reading:
Simple or 6/8 time, up to sixteen bars
Major and minor keys up to four sharps and three flats
GRADE VIII
Technical Requirements
Scales:
Major scales of E flat, G, A, B flat and B, compass three octaves.
Minor scales of E flat, G, A, B flat and B, compass three octaves (melodic
and harmonic).
Bowing - separate and slurred as Grade VII.
Even notes or long tonic (see Grade II) at candidate’s choice.
Arpeggios:
Of the above keys - compass three octaves.
Bowing - separate and slurred three notes to a bow.
Dominant sevenths:
Starting on E flat, G, A, B flat and B (in the keys of A flat, C, D, E
flat and E) resolving on the tonic, compass two octaves.
Bowing - separate and slurred, four notes to a bow.
Diminished Sevenths:
Starting on E flat, G and B - compass two octaves.
Bowing - separate and slurred four notes to a bow.
Chromatic Scales:
Starting on E flat, G, A and B flat - compass three octaves.
Bowing - separate and slurred twelve notes to a bow.
Double stops:
a) C major in sixths - compass one octave, slurred as in example below.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
b) A major in octaves - compass one octave - broken chords as in
example below.
c) F major in thirds - compass one octave - broken chords as in example
below.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Monn
J S Bach
J S Bach
Boccherini
Vivaldi
Haydn
Beethoven
Concerto in G minor: first movement, Allegro (Universal Edition)
Suite no 3 in C major: Prelude (Bärenreiter BA 320)
Sonata no 3: first movement, Vivace 3 viola da gamba Sonatas
(Faber Music or Peters)
Concerto no 1 in C G477: first movement, Allegro (without cadenza)
(Schott)
Concerto in C Minor RV 401: third movement, Allegro non molto
(Ricordi/UMP)
Minuet (Hob VI:6) trans Piatti (IMC 551 or Schott)
Sonata op 17: first movement Allegro Moderato (International or
Henle Verlag ed)
LIST B
Fauré
Bruch
Rachmaninoff
Anton von Webem
Dvořák
van Goens
Ravel
Stravinsky
Elégie op 24 (UMP)
Kol Nidrei (Boosey & Hawkes)
Danse Orientale from Prelude & Danse Orientale op 2 (Boosey &
Hawkes)
Sonata (Carl Fischer/Boosey & Hawkes)
Silent Woods (Klid) op 68 no 5 (IMC)
Tarantelle in A minor op 24 (Editio Musica Budapest/Boosey & Hawkes)
Pièce en forme de Habanera (Leduc)
Russian Maiden’s Song (Boosey &Hawkes)
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Violoncello 2015-2018
LIST C
Shostakovitch
Cassadó
Hindemith
R Clarke
Leonard
K O’Connell
Minsky
Saint-Saëns
Sonata for violoncello op 40: first movement, Allegro non troppo (Peters
Edition)
Requiebros (Schott)
Capriccio in A op 8 no 1 (Breitkopf)
Resolution, The Waterford Suite, (CMC)
The Donkey and the Driver (L’âne et l’ânier) op 61 Cello World arr Steven
Isserlis (Faber Music)
Epithalamium for Solo Cello (unaccompanied) (CMC)
No 3 Ritmo Caribeňo Ten International Cello Encores (OUP)
Allegro Appassionato The Complete Shorter Works (Faber Music)
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
Grützmacher
Study no 1 or no 2 or no 3 or no 4 Studies op 38 vol 1 (Peters P-1417a)
Merk
Study no 5 or no 7 or no 9 or no 11 or no 12 Twenty Studies op 11 (IMC
1709)
Bunting
No 13: A Few Spiccatti A Portfolio of Cello Exercises part two (Sangeeta
Publications)
Sight-reading:
Simple or 6/8 time, up to sixteen bars
Major and minor keys up to four sharps or four flats
SENIOR CERTIFICATE
Technical Requirements
Scales:
Major and minor (harmonic and melodic) scales of C - F sharp (inclusive)
- compass three octaves (melodic and harmonic).
Bowing - separate and slurred as for Grade VII. Even notes or long tonic
(see Grade II) at candidate’s choice.
Arpeggios:
Of the above keys - compass as for scales.
Bowing - separate and slurred three notes to a bow.
Dominant sevenths:
Starting on C, C sharp, D and E flat (in the keys of F, F sharp, G and A
flat) - compass three octaves.
Bowing - separate and slurred, four notes to a bow, resolving on the
tonic.
Diminished Sevenths:
Starting on C, C sharp, D and E flat - compass three octaves.
Bowing - separate and slurred, four notes to a bow.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Chromatic Scales:
C, C sharp, D and E flat - compass three octaves.
Bowing - separate bows and slurred, twelve notes to a bow.
Double Stops:
One major and one minor scale (harmonic or melodic) key of candidate’s
choice - compass one octave, in thirds, sixths and octaves - separate bows
as in example below.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J S Bach
J S Bach
Valentini
Haydn
Beethoven
Nyman
De Falla
Prelude from Solo Suites no 2, or 4 (Bärenreiter BA 320)
Sonata no 2 in D BWV 1028: fourth movement, Allegro Viola da gamba
Sonatas (Henle or Schott / MDS or Faber Music)
Sonata in E no 10: first and second movements, Grave & Allegro
(Schott CB110)
Concerto in C major: first movement, Moderato (Peters Edition)
Sonata in D op 102 first movement, Allegro con Brio Beethoven cello
sonatas (Bärenreiter or Peters Edition)
Miserere Paraphrase On the Fiddle: for Cello and Piano (Chester Music)
Ritual Fire Dance (Chester CH 00933)
LIST B
Bloch
Brahms
Prokofiev
Saint-Saëns
Rachmaninoff
Chopin
Boulanger
Elgar
Prayer no 1 from Jewish Life (Fischer / Boosey & Hawkes)
Sonata in E minor op 38: second movement, Allegretto quasi menuetto
(Henle)
Sonata op 119: second movement, Moderato (Boosey & Hawkes))
Chant Sapphique op 91 The Complete Shorter Works for Cello and Piano, ed
Isserlis (Faber Music)
Sonata in G minor op 19: third movement, Andante (Boosey & Hawkes)
Sonata in G minor op 65: second movement, Scherzo (Peters or Wiener
Urtext)
No 3 in C♯ Minor from 3 pieces (Heugal &Co)
Salut d’amour op 12 Elgar Album for cello (Mayhew)
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Violoncello 2015-2018
LIST C
Saint-Saëns
Debussy
D Ball
Rachmaninoff
J Buckley
F Corcoran
Minsky
Dvořák
Concerto in A minor op 33: first movement, Allegro non troppo
(Durand or IMC)
Sonata: first movement, Prologue (Durand or Peters Edition)
I Breathe Again, for solo cello (CMC)
Prelude from Prelude et Danse Orientale op 2 (Boosey & Hawkes)
Three pieces for Solo Cello (1975): first and third movements (CMC)
Suite for Violoncello Solo (1972): first and second movements (CMC)
No 1 Mexican Nights Ten International Cello Encores (OUP)
Rondo op 94 (Simrock )
Alternative to LIST C
Candidates may choose one of the following as an alternative to List C:
Duport
21 Studies, no 2 or no 6 or no 11 (Schirmer)
Kreutzer
22 Studies, no 9 or no 11 or no 13 (IMC)
Popper
High School for Cello op 73 book 1, no 1 or no 6 or no 11 (Hofmeister
7404/ W Elkin)
Servais
Six Caprices op 11 no 2 (Schott)
Sight-reading:
Simple or Compound time, up to sixteen bars
Any major or minor key
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
DOUBLE BASS
No marks will be awarded for incorrect music presented at examination.
Candidates using photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
GRADE I
Scales & Arpeggios:
F and B flat major.
A minor in harmonic form only; one octave.
All scales to be prepared separate bows as in Violin Grade I.
All arpeggios to be prepared separate bows as in Violin Grade I.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
F Simandl
F Simandl
Mussorgsky
Exercise no 7 (in half position) p 10 New method for Double Bass book 1
(Fischer/Boosey & Hawkes)
Exercise no 5 (in half position) p 10 New Method for Double Bass book 1
(Fischer/Boosey & Hawkes)
Great Gate of Kiev arr Hartley Solos for Double Bass Solo book 1(OUP)
LIST B
Emery & Dalby
Emery & Hall
R Schumann
No 26: Heffalump Dance for Bass and Piano Bass is Best Yorke Mini Bass
book 1 (Yorke/Spartan Press)
No 47: The Old Man for Double Bass and Piano Bass is Best Yorke Mini
Bass, book I (Yorke/Spartan Press)
The Merry Peasant arr Hartley Solos for Double Bass Solo book 1 (OUP)
LIST C
Emery & Leach
I Carroll
Schubert
Sight-reading:
No 65: Knocking at the Door for Double Bass and Piano Bass is Best Yorke
Mini Bass, book 1 (Yorke/Spartan Press)
Prelude Five Simple Pieces for Double Bass and Piano (Stainer & Bell 2310)
Entr’Acte from Rosamunde arr Hartley Solos for Double Bass Solo book 1
(OUP)
Simple time, up to eight bars, F or B flat major
Crotchets, minims, semibreves, rests.
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Double Bass 2015-2018
GRADE II
Scales & Arpeggios:
G, A, E and C major.
G, A and E minor in harmonic form only; one octave.
All scales and arpeggios to be prepared separate bows and slurred as in
violin Grade II.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
R Stewart
R Stewart
J S Bach
No 1 Trio Suite for Double Bass & Piano book 2 (Ricordi)
No 2 Processional Suite for Double Bass book 2 (Ricordi)
Minuet in G Bach 6 unaccompanied pieces arr Carroll (ABRSM)
LIST B
F Simandl
F Simandl
I Carroll
LIST C
Emery & Slatford
Emery & Slatford
G Nicks
Sight-reading:
Exercise no 4 [p 14] (in half position and first position) New method for
Double Bass book 1 (Fischer/Boosey & Hawkes)
Exercise no 1 [p 15] 11 position New Method for Double Bass, book 1
(Fischer/Boosey & Hawkes)
Prelude no 1 from Five Simple Pieces (Stainer & Bell)
No 44 Sad Double Bass for Double Bass and Piano Bass is Best Yorke Mini
Bass, book 1 (Yorke/Spartan Press)
Dinosaur Dance for Double Bass and Piano Bass is Best Yorke Mini Bass,
book 1 (Yorke/Spartan Press)
Sunshine no 4 Yorke Solos for Double Bass vol 1 (Yorke/Spartan Press)
Simple time, up to eight bars
C, G or D major
Crotchets, quavers, minims, rests.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE III
Scales & Arpeggios:
A flat, D flat and D major, one octave.
G, A, and D minor, one octave both harmonic and melodic forms.
Slurring as for Grade II.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
R Stewart
I Carroll
G Nicks
No 3 Jig Suite for Double Bass book 2 (Ricordi LD 902)
No 4 Sarabande Five Simple Pieces for Double Bass and Piano (Stainer & Bell)
The Little Sailor no 3 Yorke Solos for Double Bass vol 1 (Yorke/Spartan Press)
LIST B
I Carroll
Emery & Souster
F Boaden
Gigue Five Simple Pieces for Double Bass & Piano (Stainer & Bell 2310)
No 72: Hammock & Pavane Bass is Best Yorke Mini Bass book 1
(Yorke/Spartan Press)
Petite Suite: first movement Prelude (Yorke/Spartan Press)
LIST C
F Simandl
F Simandl
D Tutt
Sight-reading:
Exercise No 6 intermediated position between II and III p 20 New Method
for Double Bass, book 1 (Carl Fischer/Boosey & Hawkes)
Exercise no 7 [p 23] III position New Method for Double Bass, book 1 (Carl
Fischer/Boosey & Hawkes)
Perpetuum Mobile no 98 from Bass is Best Yorke Mini Bass book 1
(Yorke/Spartan Press)
Simple time, up to eight bars
Major keys up to three sharps or two flats
Crotchets, quavers, semiquavers, dotted rhythms, tied notes, rests,
accidentals.
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Double Bass 2015-2018
GRADE IV
Scales & Arpeggios:
B, F sharp and E flat major, one octave.
E major, two octaves. C and B minor, one octave.
E minor, two octaves
All minor scales to be prepared in both harmonic and melodic forms.
All scales to be prepared separate bows and slurred two bows to an
octave (as in Violin Grade III)
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
R Stewart
R Stewart
J Walton
No 4 Recitative & Aria Suite for Double Bass and Piano book 2 (Ricordi)
No 5 Toccata Suite for Double Bass and Piano book 2 (Ricordi)
Donkey Cart no 96 Bass is Best Yorke Mini Bass book 1 (Yorke/Spartan Press)
LIST B
Saint-Saëns
Emery & Ridout
F Boaden
Carnaval des Animaux, L’Elephant (United Music Publishers Ltd/Durand)
Animal Band no 101 Bass is Best Yorke Mini Bass book 1 (Yorke/Spartan
Press)
Petit Suite: second or fourth movements, Elergy or March (Yorke/Spartan
Press)
LIST C
F Simandl
F Simandl
J S Bach
Sight-reading:
Exercise no 6 intermediate position between III-IV p 26 New Method for
Double Bass book I (Carl Fischer/Boosey & Hawkes)
No 7 Andante Commodo p 9 from Thirty Études for String Bass
(Carl Fischer/Boosey & Hawkes)
No 29 Jesu, Joy of Man’s Desiring (from Cantata no 147) Double Bass Solo
1 arr Hartley (OUP)
Simple or 6/8 time, up to eight bars
Major keys up to three sharps or three flats
Crotchets, quavers, minims, dotted rhythms, tied notes, rests,
accidentals.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE V
Scales & Arpeggios:
E and F major, two octaves
E and F minor, two octaves (both harmonic and melodic forms)
All scales to be prepared separate bows and slurred as Grade IV.
Chromatic scales starting on A and E (one octave).
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Giovannino
S Lancen
Laska
Sonata in A minor, first and second movements (Yorke/Spartan Press)
Berceuse for a Baby Hippopotamus (Yorke/Spartan Press)
No 19 Romanza Yorke Solos for Double Bass vol 1 (Yorke/Spartan Press)
LIST B
M Dare
F Simandl
A Ridout
Minuet for Double Bass and Piano (Yorke YE 0012)
No 8 [p 10] Allegro Moderato Thirty Études for String Bass
(Fischer/Boosey & Hawkes)
Concerto second movement variations I and II only (Yorke/Spartan
Press)
LIST C
F Simandl
F Simandl
Bottesini
Sight-reading:
Exercise no 6 p 31 New Method for Double Bass book 1 V position
(Fischer/Boosey & Hawkes)
Exercise no 8 p 31 New Method for Double Bass book 1 V position (Carl
Fischer/Boosey & Hawkes)
Study No 25 in G Method for Double Bass part I (Yorke Edition)
Simple or 6/8 time, up to eight bars
Major keys up to three sharps or three flats, minor keys up to three
flats
Crotchets, quavers, semiquavers, dotted rhythms, tied notes, rests,
accidentals.
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Double Bass 2015-2018
GRADE VI
Scales & Arpeggios:
F, F sharp and E major, two octaves.
F, F sharp and E minor (harmonic and melodic)
All scales to be prepared separate bows and slurred as in Violin
Grade III, as well as pizzicato.
Chromatic scales: starting on F, F sharp and E (two octaves) separate
bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Laska
Vivaldi
Giovannino
A la Hongroise from Miniatures book 1 (Spartan Press Code RM113)
Sonata no 4 in B flat major RV 45 first and second movements - largo
and allegro (International Music Company)
Sonata in F: first movement - allegro (Yorke/Spartan Press)
LIST B
V Elliott
F Simandl
I Carroll
Odd Man Out for Double Bass and Piano (Yorke/Spartan Press)
Variations III and IV, p 129 from Schubert Trout Quintet, op 114 New
method for Double Bass book 1 (Fischer/Boosey & Hawkes)
Bolero: no 3 Three Pieces for Double Bass (Forsyth Brothers Ltd)
LIST C
F Simandl
F Simandl
Weinberger
Sight-reading:
Exercise no 8, p 38 VI position New Method for Double Bass book 1
(Fischer / Boosey & Hawkes)
no 17, p 19, Tempo di Polacca,Cantabile Thirty Études for String Bass
(Fischer/Boosey & Hawkes)
Fugue (from Schwanda the Bagpiper) No 20 Double Bass solo 2 arr
Hartley (OUP)
Simple or 6/8 time, up to sixteen bars
Major and minor keys up to three sharps or three flats
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE VII
Scales & Arpeggios:
G, A flat and A major;
G, A flat and A minor (harmonic and melodic) two octaves.
All scales to be prepared separate bows and slurred one octave to a
bow as in Violin Grade IV.
Chromatic Scales: starting on G, G sharp and A, two octaves, separate
bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Dragonetti
Keyper
N Hester
Solo in D minor for Double Bass and Piano: two movements, I Adagio
and II Allegro Vivace (Doblinger DM0120)
Romance Romance & rondo for double bass & piano (Yorke YE 0030)
The Bull Steps Out for Double Bass & Piano (Yorke YE 0070)
LIST B
Emile Ratez
Emile Ratez
Telemann
LIST C
F Simandl
F Simandl
F Simandl
Sight-reading:
Parade from Characteristic Pieces book 1 Recital Music (Spartan Presss
Code RM189)
Cantabile from Characteristic Pieces book 1 Recital Music (Spartan Presss
Code RM189)
Sonata in E minor: first movement (International Music Company)
Exercise no 3 p 43 VII position New Method for Double Bass part II book
1 (Carl Fischer/Boosey & Hawkes)
Exercise in B minor, p 46 New Method for Double Bass part II book 1 (Carl
Fischer/Boosey & Hawkes)
Exercise in D minor, p 47 and p 48 New Method for Double Bass part II
book 1 (Carl Fischer/Boosey & Hawkes)
Simple or 6/8 time, up to sixteen bars
Major and minor keys up to four sharps or three flats
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Double Bass 2015-2018
GRADE VIII
Scales & Arpeggios:
B flat, B, C and D major;
B flat, B, C and D minor (harmonic and melodic); two octaves.
All scales to be prepared separate bows and slurred as in Grade VII.
Chromatic Scales: Starting on any note E – C inclusive (two octaves).
Separate bows and slurred four notes to a bow.
Diminished Sevenths: starting on E, G sharp and A (two octaves)
separate bows.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
F Simandl
R Kreutzer
J Hrabe
LIST B
Vivaldi
Capuzzi
A J Potter
LIST C
F Simandl
F Simandl
B Britten
Sight-reading:
Étude no 1 in E flat, p 18 New Method for Double Bass book 2 (Carl
Fischer/Boosey & Hawkes)
Étude no 1 Eighteen Études for Double Bass Ed Hermann (Hofmeister)
No 50 in E flat Eighty-six Studies book II ed Simandl (Fischer New York/
Boosey & Hawkes)
Sonata no 4 in B flat major: third & fourth movements for double bass
& piano (International Music Company)
Concerto for Double Bass and Piano ed by Francis Baines (Boosey &
Hawkes)
Tuama an Draguinín Concertino for Double Bass (Wedderburn Music)
Cello and Bass Solo from Rigoletto, Verdi p 122 New Method for Double
Bass book 1 (Fischer/Boosey & Hawkes)
Bass Soli from Othello by Verdi p 121 New Method for Double Bass
book 1 (Fischer/Boosey & Hawkes)
Variation H Double Bass Soli Young Person’s Guide to the Orchestra
from Double Bass Solo book 2 arr Hartley (OUP)
Simple or 6/8 time, up to sixteen bars
Major and minor keys up to four sharps or four flats
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
SENIOR CERTIFICATE
Scales & Arpeggios:
E, F, F sharp and G major and minor (harmonic and melodic) compass
three octaves. Separate and slurred one bow to an octave.
Dominant sevenths: starting on A, B flat, B and C compass two
octaves.
Diminished sevenths: starting on A, B flat, B and C compass two
octaves.
Chromatic scales: starting on E, F, F sharp and G compass three
octaves. Separate and slurred one bow to an octave.
Scale in thirds: E flat major one octave separate bows.
Four pieces:
Candidates must prepare FOUR pieces: one from each List A, B, C
and D.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Simandl
Rossi
Findeisen
Exercise 1 Gradus Ad Parnassuni (IMC)
Exercise 1 Rossi Exercises (International Edition)
Exercise 1 Technical Studies vol 1 (IMC)
LIST B
Eccles
Rachmaninoff
Bach
Sonata first and fourth movement (International Edition)
Vocalise Solos for the Double Bass Player ed Zimmerman (Schirmer)
Prelude Suite 2 transcribed by Samuel Sterling (Peters)
LIST C
Cimador
Dittersdorf
Dragonetti
Concerto: first movement (Yorke Edition)
Concerto no 1: first movement (Yorke Edition)
Concerto: first movement (IMC)
LIST D Orchestral Excerpts
Beethoven
Beethoven
Beethoven
Sight-reading:
Symphony no 5: third movement Orchestral Excerpts vol I - vol VII
ed Zimmerman (IMC)
Symphony no 7: first movement Orchestral Excerpts vol I - vol VII
ed Zimmerman (IMC)
Symphony no 9: fourth movement Orchestral Excerpts vol I - vol VII
ed Zimmerman (IMC)
A short piece of suitable difficulty.
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Irish Harp 2015-2018
IRISH HARP
No marks will be awarded for incorrect music presented at examination.
Candidates using photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
PRELIMINARY GRADE
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales
a) E flat and B flat
b) C, G major
Hands separately, compass one octave.
Broken chords:
a) E flat, B flat major, hands separately, according to the example below
b) C and G major, hands separately, according to the example below
Three pieces:
LIST A
Trad
Trad
Trad
Trad
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
Seán Buí Sounding Harps, book 1 (Cairde na Cruite)
Óró bhuachaillín, seol do bhó Sounding Harps, book 1 (Cairde na Cruite)
Sprightly Widow Sounding Harps, book 1 (Cairde na Cruite)
Tá’n Samhradh ag teacht Sounding Harps book 1 (Cairde na Cruite)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Own Choice
Trad
Trad
Trad
Trad
Trad
Gough / Perrett
An Irish traditional tune of suitable standard
Evening Song from Old Tunes for New Harpists arr M Dilling (Presser/UMP)
Chimes of St Paul’s from Old tunes for New Harpists arr M Dilling (Presser)
Round Dance from Fun From the First vol I Milligan (Lyon & Healy/
Holywell)
Green Gravel from Old Tunes for New Harpists arr M Dilling (Presser)
Breton Dance from Old Tunes for New Harpists M Dilling (Presser/ UMP)
Rain on the Roof Lift-off for Harp (Beartramka)
LIST C
Grossi
Grossi
Grandjany
Sight-reading:
No 1 and no 2 (p 22) The Irish Harp Book ed Sheila Larchet Cuthbert
(Carysfort Press)
Study no 10 (page 8) Metodo per Arpa (Ricordi)
Study no 21 (page 10) Metodo per Arpa (Ricordi)
Step by Step First Grade Pieces for Harp (Carl Fischer)
A four-bar phrase in simple time. In the key of C major. The following
note values may be used: crotchets, minims, dotted minims and
semibreves. Separate hands only.
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Irish Harp 2015-2018
PRIMARY GRADE
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales & Arpeggios:
a) E flat, B flat and F major
b) C, G and D major
Hands separately, compass one octave.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
arr G Yeats
arr M Bolger
arr A McCrann
arr Bolger
Trad
D Finnegan
Mallaí Bhán Sounding Harps book 1 (Cairde na Cruite)
The Lady and the Farmer Sounding Harps book 4 (Cairde na Cruite)
Éiníní Sounding Harps book 1 (Cairde na Cruite)
Slow Air Sounding Harps book 1 (Cairde na Cruite)
An Féileacán Sounding Harps book 4 (Cairde na Cruite)
Tripping to the Well Harpers’ Choice (Cairde na Cruite)
LIST B
Own choice
J Weidensaul
F Clifton-Welker
F Clifton-Welker
arr M Dilling
Gough / Perrett
An Irish traditional tune of suitable standard
Barn Dance First Grade Pieces for Harp (Music Exchange)
Skaters Harping On book 1 (F Clifton-Welker)
Lullaby Harping On book 1 (F Clifton-Welker)
Au Clair de La Lune Old Tunes for New Harpists M Dilling (UMP)
Cosy in Bed Lift-off for Harp (Beartramka)
LIST C
Grossi
Grossi
Grossi
Grossi
Study no 31 (page 15) Metodo per Arpa (Ricordi)
Study no 38b (page 19) Metodo per Arpa (Ricordi)
Study no 34 (page 17) Metodo per Arpa (Ricordi)
Study no 44 (page 21) Metodo per arpa (Ricordi)
Sight-reading:
An eight-bar piece in simple time. In the key of C or G major. The
following note values may be used: quavers, crotchets, minims, dotted
minims and semibreves. Separate hands only.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE I
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales, Arpeggios &
Dominant sevenths
(a) E flat, B flat, F major and C major.
(b) C, G, D and A major.
Compass one octave, hands separately and hands together.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
arr G Yeats
arr G Yeats
arr M Bolger
arr A McCrann
arr G Yeats
arr G Hambly
D Kelly
arr G Yeats
arr G Yeats
Carolan arr Hambly
Óró Bog Liom í Sounding Harps, book 4 (Cairde na Cruite)
A Grá Luí Láimh Liom Harpers’ Choice (Cairde na Cruite)
Pilib an Cheoil Sounding Harps book 4 (Cairde na Cruite)
Amhrán Fíodóireachta Sounding Harps book 4 (Cairde na Cruite)
Fáinne Geal an Lae Sounding Harps book 4 (Cairde na Cruite)
Bill Sullivan’s Polka Harpers’ Choice (Cairde na Cruite)
Slow Air Sounding Harps book 4 (Cairde na Cruite)
Giolla na Scríob Sounding Harps book 1 (Cairde na Cruite)
An cuimhin leat an oíche úd? Sounding Harps book 1 (Cairde na Cruite)
Captain O’Kane Harper’s Choice (Cairde na Cruite)
LIST B
Own choice
F Clifton-Welker
F Clifton-Welker
D Gough / D Perrett
M Grandjany
Milligan
Weidensaul
Weidensaul
An Irish traditional tune of suitable standard
Sea Breeze Harping On book 1 (Clifton-Welker)
Raindrops for Rachel Harping On book 1 (Clifton-Welker)
Donkey Ride Lift Off for Harp (Beartramka)
See-saw Little Harp Book (Music Exchange)
Purple Bamboo Fun From the First vol 2 Milligan (Lyon & Healy)
Midnight Stars First Grade Pieces for Harp (Music Exchange)
El Número Uno First Grade Pieced for Harp (Carl Fisher)
LIST C
Grossi
Grossi
Grossi
Grossi
Study no 53 (page 25) Metodo per Arpa (Ricordi)
Study no 41 (page 20) Metodo per Arpa (Ricordi)
Study no 42 (page 20) Metodo per Arpa (Ricordi)
Study no 3 (page 91) Metodo per Arpa (Ricordi)
Sight-reading:
An eight-bar piece in simple time. In the key of C or G major. The
following note values may be used: crotchets, minims, dotted minims,
tied notes and rests. Hands occasionally play together.
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Irish Harp 2015-2018
GRADE II
Harps should be tuned in E flat major or C major. For harps tuned in E flat major ead (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
(a) E flat, B flat, F and C major; C, G and D harmonic minor.
(b) C, G, D and A major; A, E and B harmonic minor.
Compass two octaves, hands separately and hands together.
Contrary motion compass one octave.
Dominant sevenths:
Of above major keys, compass one octave, hands separately and hands
together. Contrary motion compass one octave.
Arpeggios:
Of above keys compass one octave. Contrary motion compass one
octave.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
arr G Yeats
arr G Hambly
arr G Yeats
arr D Finnegan
arr G Yeats
arr K Flemming
arr G Yeats
arr A McCrann
arr M Mulcahy
Bog Braon don Seanduine Sounding Harps book 1 (Cairde na Cruite)
Na Ceannabháin Bána Harpers’ Choice (Cairde na Cruite)
‘Sé mo Leanbh é Harpers’ Choice (Cairde na Cruite)
Mairseáil Rí Laoise Traditional Irish Harp Arrangements vol 1 (D Finnegan)
Eilí gheal chiúin Ní Chearbhaill Sounding Harps book 4 (Cairde na Cruite)
Connie O’Connell’s Harpers’ Choice (Cairde na Cruite)
An ghaoth aneas Sounding Harps book 1 (Cairde na Cruite)
Thugamar féin an Samhradh linn Sounding Harps book 1 (Cairde na Cruite)
Martin Hardiman’s Jig Harper’s Choice (Cairde na Cruite)
LIST B
Own choice
B Andrès
F Clifton-Welker
F Clifton-Welker
Purcell
Llwyd
Grandjany
Bartók
An Irish traditional tune of suitable standard
No 1 or no 3 Aquatintes (Hortensia)
Goblin Rustle Harping On book 1 (Clifton-Welker)
Waltz for Emily Harping On book 1 (Clifton-Welker)
Hornpipe Y Telynor Classurol (Adlais)
Olé Y Telynor Classurol (Adlais)
Rocking Little Harp Book (Boosey & Hawkes)
In Yugoslav Mode Mikrokosmos for Harp (Boosey & Hawkes)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST C
Czerny
Grossi
Grossi
Grossi
Grossi
Andrès
Study no 5 (page 39) The Irish Harp Book (Carysfort Press)
Study no 18 (page 124) Metodo per Arpa (Ricordi)
Study no 9 (page 114) Metodo per Arpa (Ricordi)
Study no 4 (page 109) Metodo per Arpa (Ricordi)
Study no 14 (page 101) Metodo per Arpa (Ricordi)
Study no 2 or 4 Charades (Hortensia/UMP)
Sight-reading:
An eight-bar piece in simple time. In the key of C or G major / A minor.
The following note values may be used: semiquavers, quavers, crotchets,
dotted crotchets, minims, dotted minims, semibreves, tied notes and
rests. Hands together.
GRADE III
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales & Arpeggios:
a) E flat, B flat, F, C and G major. C, G, D and A harmonic minor.
b) C, G, D, A and E major. A, E, B, F sharp and C sharp harmonic minor.
Compass two octaves, hands separately and hands together.
Contrary motion compass one octave.
a) C and G melodic minor.
b) A and E melodic minor.
Compass one octave - right hand only.
Dominant sevenths:
Of above major keys, compass two octaves, hands separately and hands
together. Contrary motion one octave.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
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Irish Harp 2015-2018
LIST A
arr Á Ní Dhúill
Mo Ghile Mear Sounding Harps book 1 (Cairde na Cruite)
Carolan arr McCrann Sir Festus Burke Harpers’ Choice (Cairde na Cruite)
arr McCrann
arr O’Brien-Vaughan Lad O’Beirne’s Jig Harpers’ Choice (Cairde na Cruite)
arr D Finnegan
Devanny’s Traditional Irish Harp Arrangements vol 1 (D Finnegan)
arr O’Flanagan
Sonny’s Mazurka Sounding Harps, book 2 (Cairde na Cruite)
arr G Yeats
Seothóló Sounding Harps book 4 (Cairde na Cruite)
arr M Ní
Song of the Chanter Sounding Harps book 1 (Cairde na Cruite)
Chathasaigh
arr G Yeats
Oscail an Doras go ciúin ó Sounding Harps book 2 (Cairde na Cruite)
arr D Finnegan
Deer’s March Traditional Irish Harp Arrangements vol 1 (D Finnegan)
arr G Yeats
An Buachaillín Donn Harpers’ Choice (Cairde na Cruite)
arr A McCrann
Fead an Iolar Sounding Harps book 2 (Cairde na Cruite)
arr M Mulcahy
Martin Hardiman’s Jig Harpers’ Choice (Cairde na Cruite)
A Kennedy
In Memory of the Master Harpers’ Choice (Cairde na Cruite)
Ó Catháin
Tabhair dom do lámh Harper’s Choice (Cairde na Cruite)
arr C Guard
LIST B
Own choice
A Ortiz
A Hasselmans
arr Bouchaud
arr Bouchaud
Gounod
B Andrès
Renié
F Clifton-Welker
F Clifton-Welker
An Irish traditional tune of suitable standard
Joropo 1 From Harp to Harp with Love (Ortiz)
Rouet Trois Petites Pièces Faciles (Durand)
Danza guerrera del Cuzco Panorama de la Harpe Celtique (Editions
Musicales Transatlantiques)
Huàino de Huancayo Panorama de la Harpe Celtique (Editions Musicales
Transatlantiques)
Les Pifferai Medieval to Modern vol 2 (Lyon & Healy/Holywell)
No 4 Aquatintes (Hortensia)
Grand’mère Raconte une Histoire (Leduc)
Fairground Harping On book 2 (Clifton-Welker)
Night Shade Sparks from the Harp (Clifton-Welker)
LIST C
Challoner
Viner
Grossi
Grossi
Andrès
Andrès
Study no 12 (page 84) The Irish Harp Book (Carysfort Press)
Study no 13 (page 85) The Irish Harp Book (Carysfort Press)
Study no 12 (page 116) Metodo per Arpa (Ricordi)
Study no 13 (page 118) Metodo per Arpa (Ricordi)
Study no 1 Charades (Hortensia)
Study no 3 Charades (Hortensia)
Sight-reading:
An eight-bar piece in simple time. In the key of C or G major / A minor
semiquavers, quavers, crotchets, dotted crotchets, minims, dotted
minims, semibreves, tied notes and rests. Hands together.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE IV
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
a) E flat, B flat, F, C, G, D and A major. C, G, D, A and E harmonic
minor.
b) C, G, D, A, E, B and F sharp major. A, E, B, F sharp and C sharp
harmonic minor.
Compass two octaves, hands separately and hands together.
Contrary motion, compass one octave.
a) C, G and D melodic minor.
b) A, E and B melodic minor.
Compass two octaves - right hand only
Arpeggios:
Above keys, root position and first inversions, compass two octaves.
Contrary motion compass one octave.
Dominant sevenths:
Above major keys, root position and first inversions, compass two
octaves two octaves. Contrary motion compass one octave.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
arr Á Ní Dhúill
arr A McCrann
J Harbison
Carolan arr G Yeats
Carolan arr
S Larchet Cuthbert
Carolan arr M
Ní Chathasaigh
Carolan arr A Ennis
arr N Murphy
D Kelly
M Ní Chathasaigh
arr Ní Chathasaigh
Moloney’s Jig Sounding Harps book 4 (Cairde na Cruite)
Leitrim Fancy Harpers’ Choice book 1 (Cairde na Cruite)
Bright New Morning (Irish Harp Centre Publications)
Eleanor Plunkett Sounding Harps book 4 (Cairde na Cruite)
John Kelly The Irish Harp Book (Carysfort Press)
Sí Bheag̓s Sí Mhór or Colonel John Irwin The Irish Harper vol 2
(Old Bridge Music)
Lord Galway’s Lamentation Harpers’ Choice (Cairde na Cruite)
The Rights of Man Harpers’ Choice (Cairde na Cruite)
Suantraí Harpers’ Choice (Cairde na Cruite)
Termonfechin Times Harper’s Choice (Cairde na Cruite)
Rocky Road to Dublin Harper’s Choice (Cairde na Cruite)
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Irish Harp 2015-2018
LIST B
Own choice
A Ortiz
J Francois
J Francois
B Andrès
arr R Stevenson
Daquin
Böhm
Kotzeluch
Bartók
Naderman
An Irish traditional tune of suitable standard
Una Noche From Harp to Harp with Love (Ortiz)
An Ter Seienn Trois Petites Pièces (Camac)
Blues Trevelez Trois Petites Pièces (Camac)
La Gimblette (Hortensia)
Hal-an-Tow Sounding Strings (any edition)
Tambourin Medieval to Modern vol 1 (Lyon & Healy/Holywell)
Minuet Eighteenth Century Music arr Thomson (FC Publishing Co/Holywell)
Sicilienne Pièces Classiques no 3 (Billaudot)
Triplets no 11 (page 18) Mikrokosmos for Harp (Boosey & Hawkes)
Étude no 1 Naderman pour Harpe Celtique (Zurfluh/UMP)
LIST C
Viner
Meyer Bochsa
Andrès
Andrès
Grossi
Grossi
Naderman
Study no 15 The Irish Harp Book (Carysfort Press)
Study no 18 The Irish Harp Book (Carysfort Press)
Study no 6 Charades (Hortensia)
Study no 12 Charades (Hortensia)
Study no 24 (page 129) Metodo per Arpa (Ricordi)
Study no 20 (page 125) Metodo per Arpa (Ricordi)
Etude no 1 Naderman pour Harpe Celtique (Zurfluh AZ1315)
Sight-reading:
An eight-bar phrase in simple or compound time. In the key of G or A
major / A minor. The following note values may be used: semiquavers,
quavers, dotted quavers, crotchets, dotted crotchets, minims, dotted
minims, semibreves, tied notes and rests. Accidentals may be used.
Hands together.
GRADE V
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
a) E flat, B flat, F, C, G, D, A and E major. C, G, D, A and E harmonic
minor.
b) C, G, D, A, E, B, F sharp and C sharp major. A, E, B, F sharp and C
sharp harmonic minor.
Compass two octaves, contrary motion compass one octave.
a) C, G and D melodic minor.
b) A, E and B melodic minor.
Compass two octaves, right hand only.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Arpeggios:
Root position and inversions compass two octaves. Contrary motion
compass one octave.
Dominant sevenths:
Above major keys, root position, first and second inversions, compass
two octaves. Contrary motion compass one octave.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Carolan arr M
Ní Chathasaigh
A-M O’Farrell
J Harbison
arr Á Ní Dhúill
arr J Murakami
arr M Ní
Chathasaigh
arr O Kelly
Ó Tuama arr Malir
Connellan arr
G Yeats
arr G Yeats
Carolan arr M
Ní Chathasaigh
arr T C Kelly
arr T Marshall
Madam Maxwell The Irish Harper vol 1 (Old Bridge Music)
Heir Conditioning The O’Farrell Collection vol 1: (A-M O’Farrell)
Love’s Torment (Irish Harp Centre Publications)
Saddle the Pony Sounding Harps book 4 (Cairde na Cruite)
Apples in Winter Harpers’ Choice (Cairde na Cruite)
King of the Fairies Harpers’ Choice (Cairde na Cruite)
An Droimfhionn Donn Dílis Harpers’ Choice (Cairde na Cruite)
Bí a Íosa Harpers’ choice (Cairde na Cruite)
Máire Nic Ailpín Sounding Harps book 4 (Cairde na Cruite)
Caoineadh Luimní Sounding Harps book 2 (Cairde na Cruite)
Princess Royal The Irish Harper vol 2 (Old Bridge Music)
I saw from the beach Sounding Harps book 2 (Cairde na Cruite)
Mount Phoebus Hunt Harper’s Choice (Cairde na Cruite)
LIST B
Own Choice
J François
J S Bach
Naderman
Handel
Kuhlau
Sammartini
B Andrès
B Andrès
A Challan
Strauss arr Fell
An Irish Traditional Piece of suitable standard.
Ar Baradoz (Camac)
Prelude no 3 (Anne-Marie O’Farrell)
Rondoletto from Sonata no 1 Pièces Classiques Cahier 5 (Billaudot)
Petite Sonata Panorama de la Harpe Celtique (Transatlantiques)
Theme and Variations Panorama de la Harpe Celtique (Transatlantiques)
Allegro Eighteenth Century Music Thomson (FC Publishing Co/Holywell)
Sicilienne Automates (Hortensia)
Pavane Automates (Hortensia)
Cascatelle (Leduc)
Strauss Waltz Medley Pop ‘n’ Easy book 1 (Vanderbilt)
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Irish Harp 2015-2018
LIST C
J P Pole
Grossi
Grossi
Naderman
Sor
Study no 21 The Irish Harp Book (Carysfort Press)
Study no 39 (page 145) Metodo per Arpa (Ricordi)
Study no 14 (page 120) Metodo per Arpa (Ricordi)
Etude II, III or IV Naderman pour Harpe Celtique (Zurfluh AZ1315)
Study no 5 Panorama de la Harpe Celtique ed Bouchaud (Editions
Musicales Transatlantiques TR001761)
Sight-reading:
An eight-bar phrase in simple or compound time. In a major key up to
three sharps, or a minor key up to two flats. The following note values
may be used: semiquavers, quavers, crotchets, dotted crotchets, minims,
dotted minims, semibreves, tied notes and rests. Accidentals may be
used. Hands together.
GRADE VI
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
a) E flat, B flat, F, C, G, D, A and E major. C, G, D, A and E harmonic
minor.
b) C, G, D, A, E, B, F sharp and C sharp major. A, E, B, F sharp and C
sharp harmonic minor.
Compass two octaves, contrary motion compass one octave.
a) C, G, D and A melodic minor.
b) A, E, B and F sharp melodic minor.
Compass two octaves, right hand only.
a) E flat, B flat and F major scales using harmonics.
b) C, G and D major scales using harmonics.
Compass one octave, hands separately only.
Arpeggios:
Root position and inversions compass two octaves. Contrary motion
compass one octave.
Dominant sevenths:
Above major keys, root position and inversions compass two octaves,
contrary motion compass one octave.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST A
arr J Murakami
arr A M O’Farrell
arr T C Kelly
arr A McCrann
arr Loughnane
Carolan arr M Ní
Chathasaigh
arr Á Ní
Dhubhghaill
arr C O’Donnell
arr Loughnane
The Gold Ring Harpers’ Choice (Cairde na Cruite)
Miss Monaghan’s Reel The O’Farrell Collection vol 1 (A-M O’Farrell)
An buachaill caol dubh Sounding Harps book 3 (Cairde na Cruite)
Plains of Boyle Sounding Harps book 3 (Cairde na Cruite)
Mazurka and Jig Harping On (Reiskmore Music)
Lord Inchiquin The Irish Harper book 2 (Old Bridge Music)
Sergeant Early’s Dream Harpers’ Choice (Cairde na Cruite)
The Three Sisters Harpers’ Choice (Cairde na Cruite)
Wild Geese Affairs of the Harp (Reiskmore Music)
LIST B
Own choice
Pollet
Scarlatti
A Ortiz
A Challan
Barber
Wright
Francois
J S Bach
An Irish traditional tune of suitable standard
Sonata no 2: first movement (Billaudot)
Sonata in C Pièces Classiques Cahier 5 (Billaudot)
Si Quedara Sin Ti Harp to Harp with Love (Ortiz)
Laura (Leduc)
Swinging Pentatonic Gliss Jazz for Harp vol 2 (Gail Barber)
Cross Currents Lever Harp 2000 (Beartramka)
Family Blues Easy Swing (Billaudot)
Presto Pièces Classiques cahier 5 ed Bouchaud (Billaudot GB4369)
LIST C
Kiallmark
Naderman
Grossi
Grossi
Godefroid
Study no 25 (page 160) The Irish Harp Book (Carysfort Press)
Study no 26 (page 195) The Irish Harp Book (Carysfort Press)
Study no 45 (page 153) Metodo per Arpa (Ricordi)
Study no 41 (page 148) Metodo per Arpa (Ricordi)
Etude Pièces Classiques cahier 5 ed Bouchaud (Billaudot GB4369)
Sight-reading:
A short piece of suitable difficulty in simple or compound time. In a
major key up to three sharps or a minor key up to two flats. Accidentals
may be used.
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Irish Harp 2015-2018
GRADE VII
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a)
and for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
(a) E flat, B flat, F, C, G, D, A and E major. C, G, D, A, and E harmonic
minor.
(b) C, G, D, A, E, B, F sharp and C sharp major. A, E, B, F sharp and C
sharp harmonic minor.
Compass two octaves. Contrary motion compass one octave.
(a) C, G, D, A and E melodic minor.
(b) A, E, B, F sharp and C sharp melodic minor.
Compass three octaves, right hand only.
(a) E flat, B flat, F and C major scales using harmonics.
(b) C, G, D and A major scales using harmonics.
Compass one octave, hands separately only.
Arpeggios:
Major and minor chords, dominant sevenths and their inversions,
compass two octaves. Contrary motion two octaves (where possible).
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Carolan arr M
Ní Chathasaigh
Carolan arr M
Ní Chathasaigh
arr G Yeats
Carolan arr G Yeats
arr Á Ní Dhúill
Carolan arr M Ní
Chathasaigh
arr Ní Chathasaigh
arr J F Larchet
B Mulvihill
arr L Kelly
M Rooney
Morgan Magan The Irish Harper book 2 (Old Bridge Music)
Carolan’s Draught The Irish Harper book 2 (Old Bridge Music)
Three Sea Captains Sounding Harps book 3 (Cairde na Cruite)
Planxty Johnston Sounding Harps book 3 (Cairde na Cruite)
Hamilton’s Jig Sounding Harps book 2 (Cairde na Cruite)
Planxty Sudley The Irish Harper book 2 (Old Bridge Music)
Gander in the Pratie Hole and Queen of the Rushes The Irish Harper
book 1 (Old Bridge Music)
No 2: De Bhárr na gCnoc Three Traditional Airs (OCMP)
Compliments to Sean Maguire Harpers’ Choice (Cairde na Cruite)
Land’s End Harpers’ Choice (Cairde na Cruite)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST B
Own choice
Naderman
J S Bach
D Gough
T C Kelly
M O’Leary
Gatayes
arr Ortiz
D McNulty
Stevenson
Springthorpe
Ortiz
An Irish traditional tune of suitable standard
Étude 5 Naderman pour Harpe Celtique (Zurfluh)
Presto Pièces Classiques Cahier 5 (Billaudot)
Rag-Bag Lever Harp 2000 (Beartramka)
Interlude The Irish Harp Book (Carysfort Press)
Slow Air (CMC)
Valse Russe Pièces Classiques book 3 (Billaudot)
Las Abajeñas From Harp to Harp (Ortiz)
Berceuse The Irish Harp Book (Carysfort Press)
Blue Orchard (Old School)
Idyll Lever Harp 2000 (Beartramka)
Milonga International Rhythmic Collection vol 2 (Ortiz)
LIST C
F Alberti
F Alberti
F Alberti
A J Potter
B Shaljean
Study no 2 Dix Études Progressives (Hortensia)
Study no 4 Dix Études Progressives (Hortensia)
Study no 6 Dix Études Progressives (Hortensia)
Étude Bitonal The Irish Harp Book (Carysfort Press)
Prelude in A minor Twelve Preludes for Concert or Irish Harp (Blue
Crescent)
Sight-reading:
A short piece of suitable difficulty in simple or compound time. In a
major key up to three sharps or a minor key up to two flats. Accidentals
may be used.
GRADE VIII
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a) and
for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
a) E flat, B flat, F, C, G, D, A and E major. C, G, D, A and E harmonic
minor.
b) C, G, D, A, E, B, F sharp and C sharp major. A, E, B, F sharp and C
sharp harmonic minor.
Compass two octaves in octaves, sixths and tenths.
Contrary motion beginning and ending on the unison, compass two
octaves (where possible).
a) C, D, E flat major.
b) C sharp, D and E major.
Compass three octaves, in octaves, sixths and tenths.
a) E flat, B flat, F and C major.
b) C, G, D and A major.
Scale using harmonics in thirds. Left hand only, compass one octave.
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Irish Harp 2015-2018
Arpeggios:
Major and minor chords, dominant sevenths and their inversions,
compass two octaves. Contrary motion two octaves (where possible).
Three pieces:
Candidates must prepare three pieces: one from each List, A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
arr Loughnane
Ní Chathasaigh
arr M McGrath
Carolan
arr A-M O’Farrell
arr Loughnane
arr G Hambly
arr G Hambly
Drunken Sailor Affairs of the Harp (Reiskmore Music)
Pullet and Volunteer The Irish Harper book 1 (Old Bridge Music)
I will leave this country The Irish Harp book (Carysfort Press)
Carolan’s Farewell to Music (A-M O’Farrell)
Loftus Jones Harping On (Reiskmore Music)
O’Farrell’s Welcome to Limerick Traditional Irish Music arranged for
Irish Harp (Mayo Abbey Press)
The Bucks of Oranmore Traditional Irish Music arranged for Irish Harp
(Mayo Abbey Press)
LIST B
Fleischman
D McNulty
G Victory
Kinsella
Bouchaud
F Clifton-Welker
Scarlatti
A Ortiz
Henson-Conant
Trad arr Ortiz
An Coitín Dearg The Irish Harp Book (Carysfort Press)
Fantasia or Rondo The Irish Harp Book (Carysfort Press)
Three Pieces for Irish harp [choose any one piece] The Irish Harp Book
(Carysfort Press)
Allegro Giocoso The Irish Harp Book (Carysfort Press)
Discord (Any two movements) (Harposphere)
Dance Lever Harp 2000 (Beartramka)
Sonata in A minor Pièces Classiques Cahier 6 (Billaudot)
Una Vez en la Montana International Rhythmic Collection, vol 2 (Ortiz)
New Blues (FC Publishing)
Pajaro Campana Latin American Harps, History, Music and Technique
(Ortiz)
LIST C
F Alberti
F Alberti
B Andrès
B Andrès
Sight-reading:
Study no 1 Dix Études Progressives (Hortensia)
Study no 9 Dix Études Progressives (Hortensia)
Study no 9 Jonchets 12 Études brèves pour Petite ou Grande Harpe
(Hortensia)
Study no 4 Jonchets 12 Études brèves pour Petite ou Grande Harpe
(Hortensia)
A short piece of suitable difficulty in simple or compound time. In a
major key up to three sharps or a minor key up to two flats. Accidentals
may be used.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
SENIOR CERTIFICATE
Harps should be tuned in E flat major or C major. For harps tuned in E flat major read (a)
and for harps tuned in C major read (b). A copy of own choice piece should be given to the
examiner.
Scales:
as for Grade VIII with the addition of the following:
Double octave scales in all keys possible, compass one octave.
Double third scales hands separately and hands together in all keys
possible, compass two octaves.
Arpeggios:
Major and minor chords, diminished and dominant sevenths and
their inversions, compass three octaves where possible, otherwise
compass two octaves. Contrary motion two octaves where possible.
Three pieces:
Candidates must prepare three pieces: one from each List, A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J S Bach
J S Bach
J S Bach
G F Handel
A-M O’Farrell
Any two of the following 4 preludes: Preludes nos 1, 2, 21 and 22 The
well-Tempered Clavier book 1 (Henle)
Prelude from Lute Suite BWV1006a (A-M O’Farrell)
Italian Concerto: second movement (Urtext)
Harp Concerto no 6 in B flat major: any two movements, ed O le
Dentu (Billaudot)
Chorale Variations on Take My Life and Let it Be by Me
(A-M O’Farrell)
LIST B
Snell
B Shaljean
A Ortiz
J L Dussek
D Mégevand
M O’Leary
Toccatta Lever Harp 2000 (Beartramka)
High Hat (Blue Crescent Music)
Theme from Suite to Luzma Latin American Harps: History Music and
Techniques (Ortiz)
Sonatina no 5 (Holywell Music)
Perspectives I and II (Billaudot)
Aisling The Crock of Gold: Suite (CMC)
LIST C
Two reels, jigs, slip jigs or hornpipes arranged by the candidate.
Appropriate traditional ornamentation will be expected.
or
Three Carolan tunes arranged by the candidate.
or
Three contrasting songs with own harp accompaniment.
Sight-reading:
A short piece of suitable difficulty in simple or compound time.
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Concert Harp 2015-2018
CONCERT HARP
No marks will be awarded for incorrect music presented at examination.
Candidates using photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
PRIMARY GRADE
Scales & Arpeggios:
C, G and F major.
Compass one octave, hands separately.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Clifton-Welker
Grandjany
Grandjany
Gough/Perrett
Kanga
Milligan
Dilling
Skaters or Lullaby Harping On, book 1 (Clifton-Welker)
Step by Step First Grade Pieces for Harp (Fischer/Boosey & Hawkes)
Barn Dance Memory First Grade Pieces for Harp (Fischer/Boosey & Hawkes)
Buckets and Spades or Games in the Playground Lift-off (Beartramka)
Daffodil Dance or Spooky City, Minstrel’s Gallery (Maruka/Holywell)
Northern Princess Fun from the First volume I (Lyon & Healy/Hoylwell)
Spring Song Old Tunes for New Harpists (Presser)
LIST B
Grandjany
Grandjany
Gough/Perrett
Kanga
Trad
Trad
Dilling
Midnight Stars First Grade Pieces for Harp (Fischer/Boosey & Hawkes)
Passing By First Grade Pieces for Harp (Fischer/Boosey & Hawkes)
Cosy in Bed or Donkey Ride Lift-off for Harp (Beartramka)
The Glittering Ballroom or The Royal Boat Minstrel’s Gallery
(Maruka/Holywell)
Mallaí Bhán Sounding Harps book 1 (Cairde na Cruite)
Slow Air Sounding Harps book 1 (Cairde na Cruite)
Au Clair de la Lune Old Tunes for New Harpists (Presser)
LIST C
Grossi
Grossi
Grossi
Dilling
Study no 31 (page 15) Metodo per Arpa (Ricordi/UMP)
Study no 34 (page 17) Metodo per Arpa (Ricordi/UMP)
Study no 35 (page 17) Metodo per Arpa (Ricordi/UMP)
Elfin Dance or Holy Night Old Tunes for New Harpists (Presser/UMP)
Sight-reading:
A short piece of suitable difficulty.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE I
Scales:
C, G, D and F major. Compass one octave, hands separately and
together, similar motion.
Arpeggios:
The common chords of the above keys in root position only, one
octave, hands separately.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Anon
B Paret
Grandjany
Weidensaul
Grandjany
Dilling
Clifton-Welker
Trad
O Sanctissima Fun from the First vol II (Lyon & Healy/Holywell)
Rondo First Harp Book (Schirmer/Music Sales)
Les Agneaux Dansent (Thomson/Holywell)
Lullaby for Violet First Grade Pieces for Harp, (Fischer/MDS)
Passing By First Grade Pieces for Harp (Fischer/Boosey & Hawkes)
Song of the Watch Old Tunes for New Harpists (Presser)
Sea Breeze or Raindrops for Rachel Harping On book 1 (Clifton-Welker)
Early One Morning Fun from the First vol II (Lyon & Healy/Holywell) or Old
Tunes for New Harpists (Presser/UMP)
LIST B
Anon
Cifton-Welker
Gough/Perrett
Grandjany
A Griffiths
B Paret
Kanga
Trad
Trad
Purple Bamboo Fun from the First vol 2 (Milligan) (Lyon & Healy/
Holywell)
Charlotte in Spring Harping On, book 1
Kangaroos or Donkey Ride Lift-off for Harp (Beartramka)
The See-Saw Little Harp Book (Boosey & Hawkes)
Lullaby ‘Sleep my Baby’ The Young Harpist/Y Telynor Bach (Adlais)
I Hear a Harp (Lyra)
The Glittering Ballroom or The Royal Boat Minstrel’s Gallery
(Maruka/Holywell)
Giolla na Scriob Sounding Harps book 1 (Cairde na Cruite)
Éiníní Sounding Harps book 1 (Cairde na Cruite)
LIST C
Grossi
Grossi
Grossi
Bernard Andrès
No 37 (page 18) Metodo per Arpa (Ricordi)
No 41 and no 42 (page 20) Metodo per Arpa (Ricordi)
No 44 (page 21) Metodo per Arpa (Ricordi)
No 1 or no 2 Charades (Hortensia HA 009609)
Sight-reading:
A short piece of suitable difficulty
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Concert Harp 2015-2018
GRADE II
Scales:
C, G, D, F, B flat majors. A, E, and D harmonic minors.
Compass two octaves, hands separately and together.
Arpeggios:
The common chords of the above keys
i) in root position only, one octave, hands separately and together.
ii) divided between the hands, compass two octaves as example below
Dominant sevenths:
Of the above major keys in root position only, one octave, hands
separately and together.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Purcell
M Grandjany
Grandjany
Thomson
Weidensaul
Hasselmans
Bernard Andrès
LIST B
Bartók
Burgon
Gough/Perrett
Clifton-Welker
M Grandjany
Trad
Bernard Andrès
Hornpipe from ‘Abdelazer’ The classical harpist/Y Telynor Clasurol
(Adlais)
Bonjour, Monsieur Rameau Little Harp Boo (Fischer/Boosey & Hawkes)
Rêverie or Nocturne Trois Petites Pièces Très Faciles (Leduc)
Tide or Song at Night (Thomson/Holywell)
El Numero Uno First grade pieces for harp, ed Grandjany (Boosey &
Hawkes)
Petite Berceuse (Leduc)
No 1 Aquatintes (any edition)
In Yugoslav Mode or Phrygian Mikrokosmos, arr Marzuki (Boosey &
Hawkes)
Dawn or First Sun Beginnings (Stainer & Bell)
Into Space Lift-off for Harp (Beartramka)
Matador’s Lament or Goblin Rustle Harping On book I (Clifton-Welker)
Rocking Little Harp Book (Fischer/Boosey & Hawkes)
Óró bog liom í Sounding Harps book 4 (Cairde na Cruite)
No III Aquatintes (any edition)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
LIST C
Grossi
Grossi
B Andrès
Kanga
No 10 page 114 or no 12 page 116 Metodo per Arpa (Ricordi)
No 13 page 118 or no 26 page 131 Metodo per Arpa (Ricordi)
No 3 or no 4 Charades (Hortensia HA 009609)
Bedtime Blues or Mountain Stream Minstrel’s Gallery
(Maruka Music/Holywell)
Sight-reading:
A short piece of suitable difficulty.
GRADE III
Scales,
C, G, D, A, F, B flat , E flat majors
A, E, B, D, G harmonic minors.
Scales hands together, compass two octaves similar motion.
Arpeggios:
Arpeggios of above keys:
i) hands together, root position, compass two octaves similar motion
ii) divided between the hands, compass three octaves as example
below:
Dominant sevenths:
Dominant sevenths of major keys, hands together, root position,
compass two octaves in similar motion.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Anon
J S Bach
Andrès
Croft
Clarke
The Ash Grove Medieval to Modern vol 2 ed Milligan (Lyon & Healy/
Holywell)
Little Prelude in F major Medieval to Modern vol 1 ed Milligan
(Lyon & Healy/Holywell)
Gavotte Automates (Hamelle/UMP)
Adagio The Classical Harpist/Y Telynor Clasurol - Powell (Adlais)
Chaconne The Classical Harpist/Y Telynor Clasurol - Powell (Adlais)
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Concert Harp 2015-2018
Wachs
Hasselmans
Grandjany
Kulhau
LIST B
Renié
Bartók
Burgon
Gounod
Hasselmans
Pässler
Reinecke
Pavane (Style Renaissance) Thirty Little Classics by Mildred Dilling
(Presser)
Any one of Trois Petites Bluettes (Leduc)
Bacarolle no 3 Trois Petites Pièces Très Faciles (Leduc)
Theme and Variations Panorama de la Harpe Celtique vol 1(Editions
Musicale Transatlantiques)
Bernard Andrès
Grand'mère raconte une histoire (Leduc)
Five Tone Scale Mikrokosmos for harp, ed Marzuki (Boosey & Hawkes)
First Man Beginnings (Stainer & Bell)
Les Pifferai Medieval to Modern vol 2, ed Samuel Milligan (Lyon & Healy)
Rouet Trois Petites Pièces Faciles (Durand)
Rondo Short Pieces from the Masters arr Grandjany (Boosey & Hawkes )
Dragonfly in the Sunshine Thirty Little Classics by Mildred Dilling
(Presser)
No IV Aquatintes (any edition)
LIST C
Bochsa
Grossi
J-M Damase
Pozzoli
Grandjany
Andrès
No 1 or no 2 Quarante Études Faciles book 1 op 318 (Leduc)
No 30 page 136 or no 14 page 120 Metodo per Arpa (Ricordi)
Étude no 1 or no 2 Études Faciles et Progressives (Billaudot)
Studi di media difficoltá, no1 (Ricordi)
Étude no 1 or no 4 Four études (Lyra)
No 6 or no 9 Charades (Hortensia HA 009609)
Sight-reading:
A short piece of suitable difficulty.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE IV
Scales:
C, G, D, A, E, B, F, B flat, E flat, A flat majors.
A, E, D, G, C, F harmonic minors and C and F melodic minors.
Scales in the above keys, hands together compass three octaves similar
motion.
Arpeggios:
The common chords of the above keys:
i) in root position and first inversion, hands together compass three
octaves.
ii) divided between the hands, compass four octaves as example
below:
Dominant sevenths:
Two octaves in root position similar motion and divided between the
hands over four octaves.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
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Concert Harp 2015-2018
LIST A
J L Dussek
J L Dussek
H Purcell
Dussek
Grandjany
M Grandjany
Clementi
Sonatina no 1 in C, first movt: Andante con moto Six Sonatinas
(Bärenreiter Praha H1748)
Sonatina no 2 in F, first movement: Andante Grazioso Six Sonatinas
(Bärenreiter Praha H1748)
Ground in F with variations (Holywell Music)
Megan’s Daughter (Adlais)
Siciliana from Petite suite classique (Fischer/Boosey & Hawkes)
Le bon petit roi d’Yvetot (Durand)
Sonatina in C, op 36 no 1: first movement, Allegro (Composers in
Georgian London trans Shaljean (Blue Crescent)
LIST B
H Renié
A Hasselmans
A Hasselmans
L Charpentier
D Kelly
Hasselmans
Clifton-Welker
Clifton-Welker
Angelus no 3 Feuillets d’Album (Lemoine)
Rêverie no 1 op 9 Trois Petites Pièces Faciles (Durand)
Serenade Melancolique Feuilles d’Automne (Durand)
La Bôite à Musique (Leduc)
Guitar in Blue (CMC)
Serenade Melancolique in: Feuilles d’Automne (Durand)
Waders or Nightshade Sparks from the Harp vol 1(Clifton-Welker)
Weeping Willow or Blue Strings Sparks from the Harp vol 1 (CliftonWelker)
LIST C
Bochsa
J-M Damase
J-M Damase
Pozzoli
Labarre
Bochsa
Clifton-Welker
Quarante Études op 318, book 1: no 18 (Leduc)
Dix Études Faciles et Progressives: no 3 (Billaudot)
Douze Études pour Harpe: no 1 (Lemoine)
Studi di Media Difficoltà: no 9 or no 12 (Ricordi)
Vingt Études: no 1 Gammes (Adlais)
Quarante Études op 318 book 1: no 18 (Leduc)
Catch That Pigeon Sparks from the Harp vol 1 (Clifton-Welker)
Sight-reading:
A short piece of suitable difficulty.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE V
Scales:
C, G, D, A, E, B, F, B flat, E flat, A flat majors.
A, E, B, D, G, C, C sharp, F, F sharp harmonic minors and C and F
melodic minors.
Scales in the above keys, hands together compass three octaves similar
motion. Major and harmonic minors, two octaves contrary motion.
Arpeggios &
Dominant sevenths:
Above keys in root position, first and second inversions.
Similar motion three octaves, contrary motion two octaves.
Divided between the hands four octaves.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J L Dussek
J L Dussek
Sonatina no 6 in E flat major (Bärenreiter Praha H1748)
Sonatina no 2 in F: second movement, Allegro Six Sonatinas
(Bärenreiter Praha H1748)
F J Nadermann
Sonatina no 1 in E flat major: first movement only Sept Sonates
Progressives (Leduc)
F J Nadermann
Sonatina no 2 in C minor: first movement only Sept Sonates
Progressives (Leduc)
M Peerson
The Fall of the Leafe Anthology of English Music for the Harp vol 1 ed
Watkins (Stainer H139)
Handel arr J Thomas Gigue (Adlais)
Cabezón
Pavane and Variations Spanish Masters of the Sixteenth and Seventeenth
Centuries ed Zabaleta (Schott)
LIST B
Own Choice
A-M O’Farrell
M Tournier
M Grandjany
Burgon
M Grandjany
Renié
Any piece orarrangement written for harp after 1980 of a suitable
standard
Attétude (A-M O’Farrell)
Prelude no 1 Quatre Préludes op 16 (Leduc)
Les Cerisiers en Fleur (Lyra)
Any one piece Three Nocturnes (Chester CH55172/Music Sales)
Automne (Durand)
Esquisse Feuillets d’Album (Lemoine)
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LIST C
Pozzoli
Bernard Andrès
Larivière
J-M Damase
J-M Damase
Studi di Media Difficoltà no 21 (Ricordi 2250/UMP)
No 1 or No.3 Preludes book 1 (any edition)
Exercises et études op 9 no 46 in A flat (Leduc)
Dix Études Faciles et Progressives: no 4 or no 5 (Billaudot)
Douze Études pour Harpe: no 2 or no 3 (Lemoine)
Sight-reading:
A short piece of suitable difficulty.
GRADE VI
Scales:
All major and minor keys not involving double sharps or double flats
(both melodic and harmonic minors)
One octave apart
Compass three octaves similar motion.
Contrary motion major two octaves.
Arpeggios &
Dominant sevenths:
Above keys in root position, first and second inversions.
Similar motion three octaves; contrary motion two octaves;
divided between the hands – four octaves.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
A Rössler-Rosetti
F J Naderman
F J Naderman
M Grandjany
Blow
Tournier
Sonata in E flat (Schott 5438/MDS)
Sonatina no 5 in F Sept Sonates Progressives (Leduc)
Sonatina no 4 in G minor, Prelude and Allegro Moderato Sept Sonates
Progressives (Leduc)
Frère Jacques op 32 (Durand)
Mortlack’s Ground Anthology of English Music for the Harp vol 2 ed
Watkins (Stainer and Bell)
Prelude no 3 in E flat 4 Preludes op 16 (Leduc)
LIST B
Own Choice
Thomas
B Britten
Salzedo
Salzedo
J Rodrigo
Rubbra
Tournier
Any piece or arrangement written for harp after 1980 of a suitable
standard
A Minstrel’s Adieu to his Native Land or Watching the Wheat (Adlais)
Interlude Ceremony of Carols op 28 (Boosey & Hawkes)
No 15: Chanson dans la Nuit Method for the Harp ed Lawrence and
Salzedo (Schirmer/Music Sales)
Minuet Suite of Eight Dances (Lyon and Healy/Holywell)
Impromptu (UME/Music Sales)
Pezzo Ostinato op 102 (Lengnick/Faber Music)
Prelude no 2 or no 4, 4 Preludes op 16 (Leduc)
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LIST C
C P E Bach
Bach-Grandjany
Pozzoli
Dizi
A Hasselmans
J-M Damase
J-M Damase
Solfeggietto trans Marie Miller (Carl Fischer)
Étude no 3 Études for Harp (Carl Fischer/Boosey & Hawkes)
Studi di Media Difficoltà: no 29 (Ricordi ER 2250)
48 études book 1: no 7 (Lemoine)
Caprice-étude ‘Follets’ op 48 (Holywell)
Dix Études Faciles et Progressives: no 7 or no 10 (Billaudot)
Douze Études pour Harpe: no 5 or no 6 (Lemoine)
Sight-reading:
A short piece of suitable difficulty.
GRADE VII
Scales & Arpeggios
Scales in all major and minor keys not involving double sharps or
double flats (both melodic and harmonic minors).
Compass four octaves similar motion.
Contrary motion major and harmonic minors two octaves.
Arpeggios above keys in root position, first and second inversion.
(a) Similar motion four octaves
(b) Divided between the hands four octaves.
Dominant Sevenths: Above keys in root, first, second and third
inversions. Similar motion four octaves. Divided between the hands
four octaves.
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J L Dussek
P J Mayer
Glinka
J Parry
Hasselmans
Handel
Parish Alvars
Sonata in C minor, any two movements (Schott BSS 38511/MDS)
Sonata in G minor op 3 no 6: any two movements (Schott ED5394/
MDS)
Nocturne (Holywell)
Sonata no 1 in D from Four sonatas (Lyra/Holywell)
La Source (Holywell)
Passacaglia arr Beon (Leduc)
Romance in A flat ed Watkins Anthology of English Music for the Harp
vol 4 (Stainer & Bell)
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LIST B
Debussy
Field
J Wilson
P Chertok
P Martin
Mathias
Kanga
Watkins
Première Arabesque (Durand)
Nocturne in B flat or Nocturne in D minor Anthology of English Music
for the Harp vol 4 ed Watkins (Stainer & Bell)
Variations on a French Theme (CMC)
Around the Clock Suite: any two movements (Holywell)
Les Anges de St Julien (CMC)
Improvisations, any two movements (OUP)
Saisons de la Harpe, any two movements (Alaw)
Prelude or Nocturne and Fire DancePetite Suite (any edition)
LIST C
Own Choice
Bach-Grandjany
Dizi
Labarre
Tchaikovsky
Any piece or arrangement written for the harp after 1980 of a suitable
standard
Étude no 1 or no 9 Études for Harp (Fischer/Boosey & Hawkes)
No 14 from Quarante-huit Études book 1(Lemoine/UMP)
No 20 from Vingt Études (Adlais)
Cadenza from Nutcracker Orchester Probespiel, Harfe (Schott ed 7856)
Sight-reading:
A short piece of suitable difficulty.
GRADE VIII
Scales & Arpeggios:
Scales in all major and minor keys not involving double sharps
or double flats (both melodic and harmonic minors) .
(a) Octave, sixth, tenth apart similar motion four octaves.
(b) In contrary motion starting a third, sixth or tenth apart.
(harmonic minors only). Two octaves.
Arpeggios above keys in root position, first and second
inversions.
(a) An octave apart compass four octaves
(b) Divided between the hands four octaves
Dominant sevenths above keys in root, first, second and third
inversions.
(a) An octave apart compass four octaves
(b) Divided between the hands four octaves
Diminished sevenths, starting on any note ascending and descending.
(a) An octave apart compass four octaves
(b) Divided between the hands four octaves
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Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
Glinka
Respighi
G Pierné
A Roussel
Handel
Handel
Pescetti
Saint-Saëns
Dussek
Variations on a Theme of Mozart (Holywelli)
Sicilienne trans Grandjany (Ricordi)
Impromptu Caprice op 9 (Leduc)
Impromptu op 21(Durand)
Concerto in B flat, first movement (Bärenreiter or Grandjany ed)
Theme and variations (Schott/MDS)
Sonata in C minor, any two movements (Lyra/Holywell)
Fantaisie op 95 (Durand)
Sonata in E flat, first movement
LIST B
Natra
B Boydell
B Britten
J Francois
Salzedo
Hasselmans
Tournier
Parish Alvars
Sonatina for harp (Israel Music Institute)
A Pack of Fancies: any two movements (CMC)
Suite for Harp op 38: first and second movements (Faber Music)
Hot Cucumber (Camac)
Tango and Rumba Suite of eight dances (Lyon and Healy/Holywell)
Valse de Concert (Combre)
Au Matin (Leduc)
Romance in F Anthology of English Music for the Harp vol 4(Stainer &
Bell)
LIST C
Own Choice
Tchaikovsky
Any piece or arrangement written for harp after 1980 of a suitable
standard
Étude no 7 Études for Harp (Fischer/Boosey & Hawkes)
Six Études: no 3 (Leduc)
Eight Great Concert Studies for harp: no 7 (Zimmerman)
Quarante-huit études, book 1: no 23 (Lemoine/UMP)
Study no 1 in C or no 2 in B flat minor from Selected studies for the harp
(Adlais)
Cadenza from Swan Lake Orchester Probespiel, Harfe (Schott ed 7856)
Sight-reading:
A short piece of suitable difficulty.
Bach-Grandjany
E Schmidt
W Posse
F J Dizi
Thomas
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Concert Harp 2015-2018
SENIOR CERTIFICATE
Scales & Arpeggios:
Scales: In all major and minor keys (both melodic and harmonic
forms)
(a) Octave, sixth, tenth apart similar motion four octaves.
(b) In contrary motion starting a third, sixth or tenth apart (harmonic
minors only). Two octaves.
Arpeggios above keys in root position, first and second inversions.
(a) An octave apart compass four octaves
(b) Divided between the hands four octaves
Dominant sevenths above keys in root, first, second and third
inversions.
(a) An octave apart compass four octaves
(b) Divided between the hands four octaves
Diminished sevenths, starting on any note ascending and descending.
(a) An octave apart compass four octaves
(b) Divided between the hands four octaves
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
A Caplet
Boieldieu
Fauré
Spohr
Grandjany
Grandjany
Taillefere
Handel
Handel
Divertissement à la française or Divertissement à l’espagnole (Durand)
Sonata, any two movements (Lyra/Holywell)
Une Chatelaine en sa Tour (Durand)
Fantasie in C minor (Holywell)
Prelude and Toccata Music for the Harp (Associated Music
Publishers/Music Sales)
Rhapsodie (Leduc)
Sonata, any two movements (Peer/Music Sales)
Theme and Variations (Schott)
Concerto in B flat, first and second movements (Bärenreiter or
Grandjany ed)
LIST B
Guridi
Zabel
H Holliger
Andrès
Debussy
Damase
Viejo Zortzico (Union Muscial Ediciones SL/Holywell)
La Source, op 23 (Adlais/Holywell)
Sequenza über Johannes I 32 für Harfe (Schott 5472)
Elegie pour la Mort d'un Berger or Absidioles (Hortensia/UMP)
Clair de Lune trans Salzedo (Peer/Music Sales)
Poissons, any two (Gerard Billaudot)
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Parish-Alvars
Prokofiev
Flothuis
Romance in A flat, Anthology of English Music for Harp book 4 ed Watkins
(Stainer & Bell)
Prelude in C, op 12 no 7 arr Forberg (Holywell)
Pour le Tombeau d’Orphée op 37 (Donemus)
LIST C
Own Choice
Bach-Grandjany
Thomas
Godefroid
Zabel
Gershwin
Any piece or arrangement written for the harp after 1980 of a suitable
standard
Étude no 10 or no 12 Etudes for Harp (Fischer/Boosey & Hawkes)
Study no 4 in G flat from Selected Studies for the Harp (Adlais)
Étude de Concert in E flat (Holywell)
Three Concert Studies, no 1 in E flat (Zimmerman)
An American in Paris and Rhapsodie in Blue, arr Fell (Holywell)
Sight-reading:
A short piece of suitable difficulty.
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Classical Guitar 2015-2018
CLASSICAL GUITAR
No marks will be awarded for incorrect music presented at examination.
Candidates using photocopies of music will be disqualified.
For Aural Requirements and Theoretical Questions please see pages 8 to 17.
PRELIMINARY GRADE
Scales:
The first five notes of the scale of C major ascending and descending.
The first five notes of the scale of A minor ascending and descending.
Right hand fingering im.
Free stroke or rest stroke.
Arpeggios:
E minor all open strings pimami and pamima free stroke.
(see illustration)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Three pieces:
Candidates must prepare three pieces from ‘A New Tune a Day for
Classical Guitar’ by Michael McCartney (Boston Music Company) from
the following list:
Trad
Trad
Couperin
Praetorius
Kuffner
McCartney
Trad
Trad
Australian Trad
Kuffner
McCartney
Au Clair de la Lune
The Butterfly
The Harvesters
La Volta
Romance
Rhys’ Fantasy
Scarborough Fair
Amazing Grace
Botany Bay
Ecossaise
Robin in the Garden
Sight-reading:
To recognize and play any of the first five notes of the scale of C.
Starting with C on second string to G on third fret first string.
PRIMARY GRADE
Scales:
C major and A harmonic minor, compass one octave.
Right hand fingering im.
Free or rest stroke.
Arpeggios:
C major and A minor compass one octave
Free stroke
Three Pieces:
Candidates must prepare three contrasting pieces, which may include
a study, to be chosen from “Bridges” A Comprehensive Guitar series
Preparatory Level. RCM Frederick Harris Music.
Sight Reading:
Time signatures 2/4 and 4/4.
Key C major.
Note values crotchets and minims.
Dynamics piano and forte.
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Classical Guitar 2015-2018
GRADE I
Scales:
C and G major, A and E harmonic minor compass one octave.
Chromatic scale starting on E, one octave.
Right hand fingering im.
Free or rest stroke
Arpeggios:
C and G major, A and E minor, one octave
Free stroke
Three pieces:
Candidates must prepare three contrasting pieces, which may include
a study, to be chosen from from “Bridges” A Comprehensive Guitar
series 1. RCM Frederick Harris Music.
Sight-reading:
A short piece of suitable difficulty.
GRADE II
Scales:
D and A major, B and F sharp minor, one octave.
C major and A harmonic minor, two octaves.
Chromatic Scales on F two octaves.
Right hand fingering im.
Free or rest stroke.
Arpeggios:
D and A major, B and F sharp minor, one octave.
C major and A minor, two octaves.
Free stroke.
Three pieces:
Candidates must prepare three pieces. Each piece must be selected
from a different list:
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 2. RCM Frederick Harris
Music.
Sight-reading:
Time Signatures:
2/4, 3/4 and 4/4.
Keys: C and G major, A minor.
Note Values: semibreve, dotted minim, minim, crotchet, and their
rests.
Dynamics: Piano and forte.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE III
Scales:
A and E major, C sharp and F sharp harmonica minor two octaves.
Chromatic on G two octaves
Right hand fingering im
Free or rest strokes
C major in thirds together and separately one octave (see below)
Arpeggios:
A and E major, C sharp and F sharp minor two octaves
Free and rest strokes
Three pieces:
Candidates must prepare three pieces. Each piece must be selected
from a different list:
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 3. RCM Frederick Harris
Music.
Sight-reading:
Time signatures 2/4, 3/4, 4/4
Keys C and G major, A and E minor
Note values semibreve, dotted minim, minim, dotted crochet, crotchet,
and quaver and their rests. Tied notes
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Classical Guitar 2015-2018
GRADE IV
Scales:
D flat and F sharp major, G and E flat harmonic minor, two octaves
A melodic minor, two octaves
Chromatic A and B flat, two octaves
Right hand fingering im and ma
Free and rest stroke
C major in thirds two octaves and A harmonic minor in thirds one octave
played together and separately
Arpeggios:
D flat and F sharp major, G and E flat minor, two octaves
Free stroke
Three pieces:
Candidates must prepare three pieces. Each must be selected from a
different list
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 4. RCM Frederick Harris
Music.
Sight-reading:
Time Signatures: 2/4, 3/4, 4/4, 6/8 and C.
Keys: C, G and D major, A and E minor.
Note and rest values: as for previous grades plus semiquaver.
Dynamics: any common dynamic marks.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE V
Scales:
Major scales, any key, two octaves
E major, three octaves
C and G harmonic and melodic minors, two octaves
Chromatic scale on E, three octaves
Right hand fingering im and ma
Free and rest strokes
G major in thirds, two octaves, and in sixths, one octave, played together
and separately
Arpeggios:
E major and E minor three octaves
Dominant 7th in the key of G two octaves
Three pieces:
Candidates must prepare three pieces. Each must be selected from a
different list
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 5. RCM Frederick Harris
Music.
Sight-reading:
Time Signatures: as for previous grades plus 3/8 and 2/2.
Keys: C, G, D and F major, A, E and D minor.
Note Values: as for previous grades.
Dynamics: any common dynamic marks.
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Classical Guitar 2015-2018
GRADE VI
Scales:
F major, F harmonic and melodic minor and F chromatic, three octaves
Even and dotted rhythm
Right hand fingering im, ma amd ia
Free and rest stroke
D major in thirds and sixths, two octaves, C major in octaves, played
together and separately
Arpeggios:
F major and F minor, three octaves
Dominant seventh of A major, two octaves
Diminished seventh starting on C, two octaves
Free stroke
Three pieces:
Candidates must prepare three pieces. Each must be selected from a
different list
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 6. RCM Frederick Harris
Music.
Sight-reading:
Time Signatures: as for previous grades plus 3/2 and 6/4.
Keys: C, G, D, A, E and F major, A, E, D and B minor.
Note Values: as for previous grades plus triplets.
Dynamics: any common dynamic marks.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
GRADE VII
Scales:
G major, G harmonic and melodic minor and G chromatic, three octaves
Even and dotted rhythm
Right hand fingering im, ma, ia
Free and rest stroke
A major in thrids and sixths two octaves, G and D major in octaves
One octave, played together and separately
Arpeggios:
G major and G minor three octaves
Dominant seventh key of B flat, three octaves
Diminished seventh starting on F, three octaves
Free stroke
Three pieces:
Candidates must prepare three pieces. Each must be selected from a
different list
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 7. RCM Frederick Harris
Music.
Sight-reading:
Time Signatures: as for previous grades plus 9/8 and 12/8.
Keys: any key appropriate to the guitar.
Note Values: as for previous grades.
Dynamics: any common dynamic marks.
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Classical Guitar 2015-2018
GRADE VIII
Scales:
A major, A harmonic and melodic minor, A chromatic three octaves
Even and dotted rhythm
In repeated duplet and triplet rhythm (see below)
Right hand fingering im, ma, ia
Free and rest stroke
E major in thirds and sixths, two octaves and E major in octaves and
tenths, one octave
Arpeggios:
A major and A minor, three octaves
Dominant seventh, key of C, three octaves
Diminished seventh, starting on G three octaves
Free stroke
Three pieces:
Candidates must prepare three pieces. Each must be selected from a
different list
Traditional, Renaissance and Baroque repertoire
Classical and Romantic repertoire
20th and 21st Century repertoire
Studies
From “Bridges” A Comprehensive Guitar series 8. RCM Frederick Harris
Music.
Sight-reading:
Time Signatures: as for previous grades.
Keys: any key appropriate to the Guitar.
Note Values: as for previous grades.
Dynamics: any common dynamic marks.
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
SENIOR CERTIFICATE
Scales:
G, A flat, A, B flat and B major, harmonic and melodic minor and
chromatic, three octaves
Even and dotted rhythm
In repeated triplet and quadruplet rhythm (see below)
Right hand fingering im, ma, ia
Free and rest stroke
A harmonic minor in thirds and sixths, two octaves
A harmonic minor in octaves and tenths, one octave
Argeggios:
G, A flat, A, B flat, B major and minor, three octaves
Dominant seventh keys of D and E, three octaves
Diminished sevenths starting on A and B, three octaves
Free stroke
Three pieces:
Candidates must prepare three pieces: one from each List A, B and C.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
LIST A
J Dowland
J S Bach
J S Bach
S L Weiss
S L Weiss
The Right Honourable Robert, Earl of Essex, His Galliard from
Anthology of Selected Pieces trans Burley (Schott ED 12393)
Gigue from Lute Suite no 1 BWV 996 from the Solo Lute Works ed
Koonce ( Kjos KJ15022 /Music Sales)
Allemande from Cello Suite no 1 BWV 1007
Tombeau sur la Mort de Mr Comte de Logy (Schott OT026)
Fantasie (Schott OT026)
LIST B
M Giuliani
A Barrios
F Tarrega
F Tarrega
De Falla
Sonata in C op 15: first movement, Allegro Spiritoso (UE 34482)
Danza Paraguaya ed Stover (Mel Bay Publications)
Estudio Sobre la Sonatina de Delfin Alard (Ricordi)
Capricho Arabe (UE 16687)
Danza del Corregidor from Music for Guitar (Chester CH 61249/Music Sales)
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Classical Guitar 2015-2018
LIST C
Bustamente
Villa Lobos
Villa Lobos
L Brouwer
Piazzolla
Misionera The Very Best of Jorge Morel vol 1 (Ashley Mark Publications)
Prelude no 2 (Eschig Edition)
Mazurka Choro from Suite Bresilienne (Eschig Edition)
Elogio de la Danza (Schott GA 425)
Verano Portena (Chanterelle ECH 0725)
Sight-reading:
Time Signatures: as for previous grades.
Keys: any key appropriate to the guitar.
Note Value: as for previous grades.
Dynamics: any common dynamic marks.
GUITAR CHAMBER MUSIC
Debbie Cracknell
Enjoy Playing Guitar Time for Two (OUP)
Debbie Cracknell
Ensemble Games (OUP)
David Burden
Celtic Suite (Garden Music GM29)
David Burden
Spanish Folk Song Suite (Garden Music GM30)
Joep Wanders
Go for Guitar (Broekmans & Van Poppel BRP 1646)
Peter van dee Staak Snapshots (Broekmans & Van Poppel BPR 1293)
Dieter Kreidler
Fun for Three (Schott ED 8124)
Leslie Searle
Guitar Fun Book 3 (Schott ED 7863)
Joseph Kuffer
Selected Pieces op 168 (Schott GA 10)
Music Medals Bronze Ensemble Pieces (ABRSM)
Music Medals Copper Ensemble Pieces (ABRSM)
Music Medals Silver Ensemble Pieces (ABRSM)
Music Medals Gold Ensemble Pieces (ABRSM)
Music Medals Platinum Ensemble Pieces (ABRSM)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
CHAMBER MUSIC
No marks will be awarded for incorrect music presented at examination.
Candidates using photocopies of music will be disqualified.
Please note that the editions cited here are only suggestions; other
authoritative editions may be used by candidates if so desired.
Junior Grade
A performance of own choice repertoire not to exceed 10 minutes
The ensemble may consist of a minimum of two players to a maximum of nine players
(solo instrument with piano accompaniment and piano duets excluded).
The ensemble must be unconducted.
Grade I to Grade III standard expected.
A copy (in score form) of the music to be performed must be provided for the Examiner.
Middle Grade
A performance of own choice repertoire not to exceed 15 minutes
The ensemble may consist of a minimum of two players to a maximum of nine players
(solo instrument with piano accompaniment and piano duets excluded).
The ensemble must be unconducted.
Grade IV to Grade VI standard expected.
A copy (in score form) of the music to be performed must be provided for the Examiner.
Senior Grade
A performance of own choice repertoire not to exceed 20 minutes
The ensemble may consist of a minimum of two players to a maximum of nine players
(solo instrument with piano accompaniment and piano duets excluded).
The ensemble must be unconducted.
Grade VII and above standard expected.
A copy (in score form) of the music to be performed must be provided for the Examiner.
The following list of chamber music publications is offered as a guide for Junior and
Middle Grade Ensembles.
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Chamber Music 2015-2018
Music for Violins violas and/or cellos
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Sheila Nelson
Mozart
Mazas
Groocock
Mary Cohen
Mary Cohen
Mary Cohen
F Bridge
Two in One Violin Duets (Boosey & Hawkes)
Pairs for Violins (Boosey & Hawkes)
Threes for Violin (Boosey & Hawkes)
Fours for Violins (Boosey & Hawkes)
Pairs for Cello (Boosey & Hawkes)
Threes and Fours for cello (Boosey & Hawkes)
Technitunes for Violin (Boosey & Hawkes)
Technitunes for Viola (Boosey & Hawkes)
Right from the Start (Boosey & Hawkes)
Tunes for My String Trio (Boosey & Hawkes)
Tunes for My Piano Trio (Boosey & Hawkes)
Tunes for my String Quartet (Boosey & Hawkes)
Quartet Club 1 for string quartet (Boosey & Hawkes)
Quartet Club 2 for string quartet (Boosey & Hawkes)
Twelve Duets K487 (Viola World/Music Sales)
Twos or Threes for Cello (Fentone M403)
Take your Partner; selected pieces for cello and violin (Cramer)
Six Duets for two violins op 39 (Schirmer/Music Sales)
Trio for Two violins and cello or violin, viola and cello (CMC)
Superduets Book 2 (violin duets) (Faber Music)
Superduets Book 1 (cello duets) (Faber Music)
Superduets Book 2 (cello duets) (Faber Music)
Easy Quartet Movements and Famous Pieces vol 2 (Peters P2739B)
Music by Scott Joplin Simply Strings vol 4 (Fentone Music Ltd)
Miniatures for violin, cello and piano (Stainer & Bell)
Duets for Violin and Cello Beginners (Editio Musica Budapest)
Easy Classical String Quartets (Editio Musica Budapest)
Romantic Piano Trios for Beginners, First Position (piano violin cello)
(Editio Musica Budapest)
Romantic Quartet Music for Beginners, First Position (string quartet)
(Editio Musica Budapest)
Romantic Trio Music for Beginners, First Position (string trio) (Editio
Music Budapest)
Classical Trio Music for Beginners (string trio) (Editio Musica Budapest)
Classical Piano Trios for Beginners, First Position (piano violin cello)
(Editio Musica Budapest)
Easy Quartet (Editio Musica Budapest)
Easy Trios (Editio Musica Budapest)
Intermediate Level Trios (Editio Musica Budapest)
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Music for Guitars
Debbie Cracknell
Debbie Cracknell
David Burden
David Burden
Joep Wanders
Peter van dee Staak
Dieter Kreidler
Leslie Searle
Joseph Kuffer
Enjoy Playing guitar “Time for Two” (OUP)
Ensemble Games (OUP)
Celtic Suite (Garden Music GM29)
Spanish Folk Song Suite (Garden Music GM30)
Go for Guitar (BRP 1646)
Snapshots (BPR 1293)
Fun for Three (ED 8124)
Guitar Fun Book 3 (ED 7863)
Selected Pieces op 168 (GA010)
Music Medals Bronze Ensemble Pieces (ABRSM)
Music Medals Copper Ensemble Pieces (ABRSM)
Music Medals Silver Ensemble Pieces (ABRSM)
Music Medals Gold Ensemble Pieces (ABRSM)
Music Medals Platinum Ensemble Pieces (ABRSM)
Music for Irish Harps
My Gentle Harp (Cairde na Cruite)
Sounding Harps Book 1 (Cairde na Cruite)
Sounding Harps Book 11 (Cairde na Cruite)
Habanera Ensemble Collection Volume 1
(www.alfredo-rolando-ortiz.com)
Harpers’ Choice (Cairde na Cruite)
123
School Orchestras 2015-2018
SCHOOL ORCHESTRAS
The syllabus below should be used to help applicants decide which examination they wish to
enter for based on their own self assessment and degree of difficulty of the repertoire.
Junior Grade Orchestra
Entries must include a representation of all the string instruments with the possible use of third
Violins instead of Viola. Where wind instruments are not available it is permissible to have their
cues played in other areas.
All copies of music are published by Goodmusic Publishing under the Goodmusic Orchestral
Series and by Boosey & Hawkes under the Hawkes School Series. The following lists are
guidelines of the standard of repertoire required.
Applicants must present three pieces for examination. Applicants may select their programme
from the following list. Alternatively candidates may submit a programme with one/two or
three own choice pieces, or a combination of own choice/recommended repertoire. Where own
choice pieces are being selected titles of the works and composers must be presented along with
copies of the scores on the day of the examination.
From Concert Pieces 1
Boosey & Hawkes Young Orchestra Series
Mozart
Haydn
Handel
Cruger
No 1
No 2
No 4
No 6
From Concert Pieces 2
Gluck
Boyce
arr Stone
Traditional
Boosey & Hawkes Young Orchestra Series
No 1 Entry of the Priests
No 4 Gavot
No 6 Praise To The Lord
No 8 Shortnin’ Bread
Beethoven (arr Benoy)
(Goodmusic Publishing)
Hymn to Joy from Symphony no 9
Graham Frewer
(Goodmusic Publishing)
Buoyant Bobby’s all at Sea
Graham Frewer
(Goodmusic Publishing)
Hey Little Bull
March
Menuetto
Menuet
Now Thank We All Our God
124
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Senior Grade Orchestra
Entries must include a representation of all the string instruments with the possible use of third
Violins instead of Viola. Where wind instruments are not available it is permissible to have their
cues played in other areas.
All copies of music are published by Goodmusic Publishing under the Goodmusic Orchestral
Series and by Boosey & Hawkes under the Hawkes School Series.
The following lists are guidelines of the standard of repertoire required.
Applicants must present three pieces for examination. Applicants may select their programme
from the following list. Alternatively candidates may submit a programme with one/two or
three own choice pieces, or a combination of own choice/recommended repertoire. Where own
choice pieces are being selected titles of the works and composers must be presented along with
copies of the scores on the day of the examination.
Tchaikovsky
Marche Slave
(Goodmusic Publishing)
Delibes (arr Benoy)
Suite Le Roi s’amuse
(Goodmusic Publishing)
arr Benoy
A Boyce Suite (any movement)
(Goodmusic Publishing)
Mendelssohn (arr R Mayes)
Dance of the Clowns, from A Midsummer
Night’s Dream
(Goodmusic Publishing)
Hummel (arr Benoy)
Slow air and Rondo
(Goodmusic Publishing)
Purcell (arr Westcott)
Three Pieces from ‘The Fairy Queen’
(Goodmusic Publishing)
Grieg
In The Hall of the Mountain King,
from Peer Gynt Suite
(Goodmusic Publishing)
Offenbach (arr Wicken)
The Can-Can
(Goodmusic Publishing)
125
School Orchestras 2015-2018
Rimsky-Korsakov, Nikolay
arranged Sandra Dackow
Tchaikovsky, Peter Ilich
Dance of the tumblers from Snow Maiden
Tempo Press
Trepak from The Nutcracker
(Tempo Press)
Mozart, Wolfgang Amadeus
arranged Sandra Dackow
Sleigh Ride : German dance no 3, KV 605
(Ludwig Music)
Nikolai Rimsky-Korsakov
arranged by Richard Meyer
Capriccio Espagnol
(Highland/Etling)
126
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
THEORY AND HARMONY
Past papers will be supplied on application to the RIAM Local Centre Examinations’ Office. A series
of music theory workbooks entitled Music Workout is available from music stockists.
PREPARATORY GRADE
1
2
3
4
Note values of Semibreve, Minim, dotted minim and crotchet. Rest values of
semibreve, minim and crotchet.
Time Signatures: The top number only of 2/4, 3/4 and 4/4.
Stave: Writing and naming notes on the stave only in Treble (G) and Bass (F) clefs.
Observation of the above elements in relation to a melody written in either the Treble
or the Bass clef.
GRADE I
1
2
3
4
5
6
Note values of semibreve, minim, dotted minim, crotchet, dotted crotchet and
quaver.
Rest values of semibreve, minim and crotchet.
Time Signatures: 2/4, 3/4, 4/4 C.
Stave: Treble (G) and Bass (F) clefs to one ledger line above and below the stave.
The writing and use of sharp and flat signs.
Scales: Major scales of C and G in both clefs.
To be familiar with the relevant Tonic Solfa names and to understand the
positioning of the tones and semitones and the use of key signature.
Observation of the above elements in answering simple questions about a melody
including some terms and signs.
GRADE II
1
2
3
4
5
6
Note values of semibreve to semiquaver inclusive. Dotted notes and tied notes.
Rest values of semibreve to quaver inclusive.
Grouping of notes and rests in 2/4, 3/4, 4/4 times.
Stave: Notes to the second space above and below treble and bass staves.
The writing and use of sharp, flat and natural signs.
Scales: Major scales, key signatures and tonic triads of C, G, D and F and their
application in recognising the key of a piece, adding accidentals instead of key
signature and using relevant tonic solfa.
Observation of the above elements in answering simple questions about a melody
including more terms and signs.
GRADE III
1
2
3
Note values of semibreve to semiquaver including quaver triplets.
Rest values of semibreve to semiquaver.
Times Signatures:
Simple Duple 2/4, 2/2, ¢
Simple Triple 3/4, 3/2, 3/8
Simple Quadruple 4/4, 4/2,
and grouping of notes and rests in these times.
Stave: Notes to two ledger lines above and below treble and bass staves.
Transcribing from treble to bass or vice versa at the same pitch.
127
Theory & Harmony 2015-2018
4
5
6
Scales and Intervals: Major scales, key signatures and tonic triads of keys up to two
sharps and two flats. Intervals formed from the tonic of these major keys.
Minor scales, key signatures and tonic triads of A, E and D to be familiar with the
relevant tonic solfa names and to understand the positioning of tones and semitones.
Harmonic or melodic form may be used at the candidate's choice.
Composition: To compose the final two bars of a simple four bar melody of which
the opening two bars are given. The melody will be in the treble clef, in the key of C,
G or F and in 2/4 or 3/4 time.
Observation: To answer simple questions about a melody appropriate to the grade.
GRADE IV
1
2
3
4
5
6
Note and rest values semibreve to demisemiquaver including crotchet, quaver and
semiquaver triplets, and triplet note groups using rests.
Time signatures: All simple time signatures. Compound time signatures of 6/8, 9/8
and 12/8 and the grouping of notes and rests in all these times.
Stave: Notes beyond two ledger lines above and below treble and bass
staves.Transposing a melody up or down one octave between treble and bass staves.
Scales and Intervals: Scales, key signatures and tonic triads of major keys up to four
sharps and four flats and of minor keys up to two sharps and two flats with both the
harmonic and melodic form of minor scales and the relevant tonic solfa. Intervals
formed from the tonic of these major and harmonic minor scales.
Composition: To compose the final two bars of a four-bar melody of which the
opening two bars are given. The melody will be in the treble clef and in the major
keys of C, G, D, F or in the minor key of A and in
2/4, 3/4, or 4/4 time. Phrasing and a tempo mark should be added to the completed
melody.
Observation: To answer questions about a short musical extract appropriate to the
grade.
GRADE V
1
2
3
4
5
6
Note and rest values semibreve to demisemiquaver including irregular divisions ie
duplets, quintuplets and septuplets. Double dotted notes.
Time Signatures: All simple and compound times and the grouping of notes and
rests in these times.
Clefs: The addition of the Alto (C) clef.
Transcribing a melody written in treble or bass clef to the alto clef at the same pitch.
Keys: Scales and key signatures of major keys up to five sharps and flats and both
forms of minor scales up to four sharps and flats. The construction of the chromatic
scale. Enharmonic notes including double sharps and double flats. Technical names
for the notes of the diatonic scale.
Tonic triads of the above keys in root position, first inversion and second inversion.
Intervals and Transposition: Intervals not greater than an octave formed between
any two notes of the above major and minor scales to include augmented and
diminished intervals. Transposing a melody either up or down by any of the
following intervals: major second, major or minor third, perfect fourth or fifth. The
melody will be in a major key, using only treble or bass clef and will contain no
chromatic notes.
Composition: To compose an answering four bars to a given four-bar melody in
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
7
8
major or minor keys up to two sharps and flats and in 2/4, 3/4, 4/4 or 6/8 time. Marks
of tempo, phrasing and expression to be added to the completed melody. Writing a
rhythm to words using 2/4, 3/4 and 4/4 times.
Instruments of the orchestra to include orchestral families, clefs used by individual
instruments and their basic method of tone production.
Observation: questions on a musical extract to test the general understanding and
application of points appropriate to the grade.
GRADE VI
1
2
3
4
5
6
7
8
Time Signatures: All simple and compound times and the irregular time signatures
of 5/4, 5/8, 7/4, 7/8.
Clefs: The addition of the Tenor (C) clef.
Transposing a melody up or down one octave between any of the four clefs.
Keys: Scales, key signatures and tonic triads with their inversions of major keys up to
seven sharps and flats and both forms of minor keys up to five sharps and flats.
Intervals and Transposition: All intervals (not greater than an octave) and the
inversion of intervals.
Transposing a melody either up or down by any of the following intervals: Major
second, major or minor third, perfect fourth or fifth. The melody will be in a major or
minor key, using only treble or bass clef and will include some chromatic notes.
Triads and four part chords:
a)
The construction of major, minor, diminished and augmented triads in root
position on any note.
b)
The writing of the following triads in keys appropriate to the grade:
i
tonic triads in root position, first inversion and second
inversion
ii
subdominant and dominant triads in root position only
c)
Arranging the primary triads (tonic, subdominant and dominant) as four part
chords (root position) for SATB.
d)
The writing in open score (using treble and bass clefs) of a passage for SATB
written in short score or vice versa.
e)
The identification of the primary chords (root position) in an extract scored
for piano, voices or string quartet.
Composition: To compose a melody from a given opening to make a total of eight
bars. Marks of tempo, phrasing and expression to be added to the completed
melody. Writing a rhythm to words using 2/4, 3/4, 4/4 and 6/8 times.
Observation: General questions on a musical extract to include the identification of
ornaments.
History and instrumental knowledge:
A general knowledge of the Baroque period to include style, forms, main composers
and their standard works.
Terms indicating special effects on instruments and transposing instruments.
129
Theory & Harmony 2015-2018
GRADE VII
1
2
3
Keys, intervals and transposition: Scales and key signatures of all keys major and
minor. All simple and compound intervals. Transposition of a melody by any
interval in any of the four clefs.
Melodic composition: Using a given opening to compose a twelve-bar melody which
should include a modulation to the dominant key or to the relative major or minor
key. Marks of tempo, phrasing and expression to be included or (at the candidate's
choice) the setting of words for solo voice.
Harmony: Using the following resources:Major keys C, G, D and F - chords I, ii, IV, V, vi
Minor keys A, E and D - chords i, iv, V, VI
in root position with unaccented passing and auxiliary notes.
a)
To select suitable chords to harmonise cadential points in a given melody
(indicate by roman numerals) and also to write the appropriate root notes in
the bass.
b)
c)
4
5
To add inner parts in Perfect, Imperfect, Plagal and Interrupted cadences for
SATB in which the soprano and bass are given.
To write a melody above a given progression of chords. The bass line will be
complete and the opening of the melody given.
Harmonic Analysis: In a given extract for piano or voices in any major or minor key
to identify chords of the tonic, supertonic, subdominant, dominant and submediant,
in root position and first inversion. The cadential 6/4 on the dominant. The dominant
seventh chord in root position. Unaccented passing and auxiliary notes.
History and instrumental knowledge: A general knowledge of the classical period to
include style, forms, main composers and their standard works.
General questions on an orchestral extract to include abbreviated and foreign names
of instruments.
GRADE VIII
1
2
3
Melodic composition: Using a given opening to compose a sixteen-bar melody which
should include some modulation to any closely related key. Marks of tempo,
phrasing and expression to be included.
or (at the candidate's choice) the setting of words for solo voice.
Harmony: Using the following resources:
All major and minor chords in root position and first inversion. Diminished chords
in first inversion.
The use of the second inversion as cadential and passing decoration. Dominant
seventh chord in root position. Unaccented passing and auxiliary notes.
a)
To indicate suitable chords to harmonise a folk song style melody (indicate by
roman numerals) and also to write the notes which will form the bass line.
b)
To add inner parts in a passage for SATB in which the soprano and bass are
given and to show chord analysis.
c)
To create a simple two part texture by completing the treble over a given
bass.
Harmonic analysis: In a given extract for piano or voices to identify the above
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
4
elements and in addition to recognise basic modulation, dominant seventh chord in
all positions and the use of suspensions and accented passing notes.
History and instrumental knowledge: A general knowledge of the Romantic period
to include style, forms, main composers and their standard works. General
instrumental questions.
SENIOR CERTIFICATE
1
2
3
4
5
Harmony: Using resources as in Grade VIII (2) with the addition of harmonisation of
the melodic minor. Dominant seventh in all positions. Accented passing notes and
suspensions. Modulation to the dominant and relative of the tonic.
To indicate suitable chords to harmonise a folk song style melody
(indicate by roman numerals) and also to write the notes which will form
the bass line.
To add inner parts in a passage for SATB in which the soprano and bass
are given and to show chord analysis.
Harmonic analysis: In a given extract for piano or voices to identify the above
elements and in addition to recognise chromatic passing notes, appoggiaturas,
supertonic seventh, diminished seventh chords and modulations to related keys.
Counterpoint: The writing of simple two-part counterpoint by adding another
melody above or below a given melody.
History: A general knowledge of the Impressionist and Modern periods to include
style, forms, main composers and their standard works.
Musical perception: General questions on an orchestral extract to include rudiments,
ornaments, harmonic structure and instruments.
131
Publishers & Suppliers 2015-2018
OBTAINING MUSIC FOR THE STRING SYLLABUS
Music set on the syllabus should be available from local music retailers, who can also order in
materials not in stock. In the event of difficulty obtaining items, Irish, UK and international
publishers are listed below. Allegro Music and Banks Music do some archive reprints for outof-print items from the OUP and Associated Board catalogues. Guitar students are well served
by Guitarnotes (formerly the Spanish Guitar Centre), the largest stockist of guitar music in the
UK. Similarly, for Harp students, Salvi/Holywell stock a wide range of such music. The
Contemporary Music Centre (Ireland) is an information agency for all matters related to
contemporary Irish composers, as well as supplying copies of pieces by these composers.
MUSIC RETAILERS – IRELAND
Educational Music Services 22 Mountjoy Square, Dublin 1 Tel: 01-8742310 Fax: 01-8725292
Email: emsltd@eircom.net Web: www.emsmusic.ie
McCullough Pigott 11 South William Street, Dublin 2 Tel: 01-6773138
Opus II (Cork) 131 Oliver Plunkett Street, Cork, Tel: (021) 4279611; 5 St Augustine Street
Galway, Tel: (091) 500300; Email: sales@opus2.ie ; Web:
YPERLINK"http://www.opus2.ie"www.opus2.ie
Waltons 2-5 North Frederick Street, Dublin 1 69; Tel: 01-8747805 Fax: 01-8786065 South
Great Georges Street, Dublin Tel: 01-4750661 Web: www.waltons.ie Email: info@waltonsmusic.ie
MUSIC PUBLISHERS, ASSOCIATIONS, LIBRARIES
AND AGENCIES: IRELAND, UK & INTERNATIONAL
Adlais Adlais Music Publishers, c/o Creighton's Collection, 244 Cathedral Road, Cardiff, CF11 9JG,
Wales, UK Tel: +44-1291 690517 Web: www.adlaismusicpublishers.co.uk
Afghan Press www.afghanpress.com ; also available from Hollywell Music
Alaw Bronwydd, 4 Tyfica Road, Pontypridd, Rhondda, Cynon, Taf CF37 2DA, Wales
Tel: +44-1443 402178; Fax: +44-1442 402178; Web: www.alawmusic.com
Allegro Music 43 The Hop Pocket Craft Centre, New House Farm, Bishops Frome,
Worcestershire, WR6 5BT, UK Web: www.allegro.co.uk
Anderson Guitar Publications c/o Music Exchange, Claverton Road, Manchester, M23 9ZA
UK Tel: +44-161-9461234 Fax: 061-9461195 Web: www.music-exchange.co.uk
A&C Black 36 Soho Square, London, W1D 3QY Tel: +44-20-77580200; Web:
www.bloomsbury.com
Ashley Mark Publishing Company, 1& 2 Vance Court, Trans Britannia Enterprise Park,
Blaydon on Tyne, NE21 5NH, UK Tel: +44-191-4149000 · Fax: +44-191-4149001
email: mail@ashleymark.co.uk Web: www.ashleymark.co.uk
Associated Board 24 Portland Place, London WC1B 1LU, UK Tel: +44-20-76365400
Fax: +44-20-7637024 Web: www.abrsm.org
Associated Music Publishers see under Music Sales
Barber (Gail) www.gailbarber.com
Bärenreiter Ltd Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX UK
132
RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Tel: +44-1279-828930 Fax: +44-1279-828931 Web: www.baerenreiter.com
Bärenreiter Praha Náměstí Jiřího z Poděbrad, 112/119, 13000 Praha 3
Web: www.sheetmusic.cz
Beaumaris Publications Rockfield, Carrigavantry, Tramore, Co. Waterford
Ireland, Tel: 051-391746; Email: salieri@oceanfree.net
Belfast Public Library Royal Avenue, Belfast BT1 IEA, Northern Ireland,
Tel: +44-28-90509150; Web: www.librariesni.org.uk
Belwin Mills available from Faber Music
Billaudot (Gérard) 14 Rue de l'Échiquier, 75010 Paris, France Tel: +33 1 47701446;
Fax: +33 1 45232254 www.billaudot.com/en/
Blue Crescent Music Email: bluecrescentmusic@gmail.com Web: www.bluecrescentmusic.com
Boosey and Hawkes, Aldwych House, 71-91 Aldwych, London WC2B 4HN, UK
Tel: +44-20-75802060 Fax: +44-20-74362850 Web: www.boosey.com
Boston Music Company available from Music Sales Web: www.musicroom.com
Bosworth & Co Ltd available from Music Sales Web: www.musicroom.com
Brass Wind Publications 4 St Mary's Road, Manton, Oakham, Leicester LE15 8SU, England Tel:: +44-1572 -737409 / 737210 Fax: +44-1572- 737409 Web: www.brasswindpublications.co.uk
Butorac Edition Butorac München, Badstr. 14a, D-81379 München. Tel: +49-89- 72430612
Fax: +49-89-72430611; E-Mail: info@ice-land-music.com Web:www.edition-butorac.com
Breitkopf & Härtel Web: www.breitkopf.com
Broekmans & Van Poppel Web: www.broekmans.com/en/Sheetmusic
Cáirde na Cruite Web: www.cairdenacruite.com
Cadenza Music 48 Ridgeway Avenue, Newport, NP20 5AH, Wales Web: http://cadenzamusic.com
Camac 92 Rue Petit, 75019 Paris, France Tel: +33-140-400840 Fax: +33-140-400842
Email: info@camac-harps.com Web: www.camac-harps.com
Carysfort Press 58 Woodfield, Scholarstown Road, Rathfarnham, Dublin 16, Tel: 01-4937383;
Email: info@carysfortpress.com Web: www.carysfortpress.com
Chanterelle available from Guitarnotes; Web: www.chanterelle.com
Chester Music available from Music Sales Web: www.musicroom.com
Clifton-Welker (Fiona) Web: www.fiona-clifton-welker.co.uk
CMC – Contemporary Music Centre, 19 Fishamble Street, Dublin 8 Tel: 01-6731922;
Fax: 01-6489100; Web: www.cmc.ie Email: info@cmc.ie
Combre available from Lemoine
Cork City Library Grand Parade, Cork Tel: 021-4277110 Web: http://libcat.corkcity.ie
Cramer Music 192 Queens Road, Watford, Herts, WD17 2NT, Tel: +44-207 240 1614,
Fax: +44-207 240 2639 Web: www.spartanpress.co.uk
de Haske Music 17-18 Henrietta Street, Covent Garden, London WC2E 8QH, UK
Tel: +44-207-3950380 www.dehaske.com
de Haske – Hal Leonard PO Box 70152, London, WC1A 9FU, Tel: +44-207 395 0382
Fax: +44-207 900 1812 Email sales@dehaske.co.uk
Doblinger see under Schott. Web: www.doblinger.at
Donemus Rokin 111, 1012 KN Amsterdam, Netherlands Tel: +31- 20-3446000;
Fax: +31- 20-6733588; Email: info@mcn.nl ; Web: www.donemus.nl
Drummartin Music 224 Lower Kilmacud Road, Goatstown, Dublin 14
Durand available from de Haske; see also www.durand-salabert-eschig.com
Dwyer (Benjamin) Web: www.benjamindwyer.com Email: info@benjamindwyer.com
Editions Musicales Transatlantiques available from Music Sales Web: www.musicroom.com
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Publishers & Suppliers 2015-2018
EMB Editio Musica Budapest c/o Faber Music Distribution, Burnt Mill, Elizabeth Way,
Harlow
Essex, CM20 2HX, UK, Tel: +44-1279-828989, Fax: +44-1279-828990 Web: www.emb.hu
Eschig (Max) available from de Haske – Hal Leonard see also www.durand-salabert-eschig.com
European Music Centre available from Spartan Press
Faber Music Ltd 3 Queen Street, London WC1N 3AU, UK Tel: +44-20-72787436
Fax: +44-20-72783817 Web: www.fabermusic.com
Fentone Music Ltd c/o de Haske, Fleming Road, Earltrees, Corby, Northants NN17 2SN, UK
Tel: +44-1536-260981 Fax: +44-1536-401075; Web: www.dehaske.com
Finnegan (Dearbhail) Web: www.dearbhailfinnegan.com Email: irishharper@mac.com
Forsyth Brothers 126-128 Deansgate, Manchester MS 2GR, UK Tel: +44-161-8343281
Fax: +44-161-8340630 Web: www.forsyths.co.uk ; Email: publishing@forsyths.co.uk
Garden Music Web: www.gardenmusic.co.uk
Goodmusic PO Box 100, Tewkesbury, Gloucestershire ,GL20 7YQ, UK.
Tel: 0044-1684-773883; Fax: 00441684-773884 Web: www.goodmusicpublishing.co.uk
Guitarnotes (Spanish Guitar Centre) 44 Nottingham Road, New Basford, Nottingham NG7
7AE, UK Tel: +44- 115-9622709 Fax: +44- 115-9625368 Web: www.spanishguitar.com
Email: sales@spanishguitar.com
Hal Leonard Web: www.halleonard.com
Hamelle available from Music Sales Web: www.musicroom.com
Henle (G.) Verlag available from Schott also available from Music Sales at
www.musicroom.com. Henle’s own website: www.henle.de
Harris (Frederick) Music Company Web: www.frederickharrismusic.com; available from
Guitarnotes
Hofmeister Büttnerstrasse 10, D-04103 Leipzig, Germany Tel: +49-341-9600750
Email: info@hofmeister-musikverlag.com Web: www.friedrich-hofmeister.de
Holly Music available from Music Sales Web: www.musicroom.com
Holywell Music Limited 58 Hopton Street, London SE1 9JH, UK Tel: +44-20-79288451
Fax +44-20-79288284 Web: RLINK"http://www.holywellmusic.co.uk" www.holywellmusic.co.uk ;
Email: holywell@holywell.co.uk
Hortensia available from Leduc
IMC – International Music Company available from Schott/MDS
Web: www.internationalmusicco.com
IMP – International Music Publications available from Music Sales at www.musicroom.com
Irish Harp Centre Publications The Old School House, Chapel Hill, Castleconnell,
Co Limerick. Tel: 061 - 372 777; Fax: 061 - 372 712; Email: info@irishharpcentre.com ;
Web: www.irishharpcentre.com
Israel Music Institute 55 Menachem Begin Road, IL-67138 Tel Aviv, Israel
Tel: +972-3-6247095 Fax: 972-3-5612826 Email : musicinst@bezeqint.net Web : http://imi.org.il
Kjos (Neil) available from Music Sales Web: www.musicroom.com
Lyra Music 972 Revo Lane NE, Palm Bay, Florida FL 32907USA. Email: lyrahouse@aol.com
Web: www.lyramusic.com
Leduc available from Music Sales; see also www.alphonseleduc.com
Lemoine (Henry) 27 bvd Beaumarchais, F-75004 Paris, France. Web: www.henry-lemoine.com
Lengnick (Alfred) & Co 27 Grove Road,Beaconsfield, Bucks HPR 1UR Available from
Faber Music
Lyon and Healy available from Holywell Music
Margaux Edition Web: www.edition-margaux.de
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
Mayhew (Kevin) Limited Buxhall, Stowmarket, Suffolk, IP14 3DJ, UK -Tel: +44-845-3881634;
Web: www.kevinmayhew.com
Maecenas Music Ltd P.O. Box 629, Godstone, RH9 8WQ, UK Tel: +44-1342-893963
Fax: +44-1342-893977; Web: www.maecenasmusic.co.uk
Mayo Abbey Press see under Grainne Hambly’s web page http://grainnehambly.com/
Mel Bay Publications available from Music Sales Web: www.musicroom.com
Mercier Press Unit 3b, Oak House, Bessboro Road, Blackrock, Cork. Tel: 021-4614700;
Fax: 021-4614802; Web: www.mercierpress.ie
Music Exchange Ltd Claverton Road, Manchester, M23 9ZA ,UK Tel: +44-161-9469301;
Web: www.music-exchange.co.uk
Music Library Dublin City Libraries, Central Library, ILAC Centre, Henry Street, Dublin 1
Tel: 01-8734333 Web: http://libcat.dublincity.ie
MPA – Music Publishers’ Association (UK) 6th Floor, British Music House, 26 Berners
Street, London W1T 3LR, UK Tel: +44-20-75800126; Web: www.mpaonline.org.uk
Music Sales Ltd 14-15 Berners Street, London W1T 3LJ, UK Tel: +44-20-76127400
Web: www.musicroom.com
Novello & Co. Ltd available from Music Sales Ltd
OCMP (O’Carroll Music Publishing) 362 South Circular Road, Dublin 8
Email: info@ocmpireland.com Web: www.ocmpireland.com
O’Farrell (Anne-Marie) Web: www.iol.ie/~amofharp Email: amofharp@iol.ie
Old Bridge Music PO Box 7 Ilkley West Yorkshire LS29 9RY UK Tel: +44 1943 602203
Fax: +44 1943 435472 Email: mail@oldbridgemusic.com Web: www.oldbridgemusic.com
Oriel Library, 32 The Burgage, Market Drayton, Shropshire TF9 1EG, UK Tel: 01630 653802
Ortiz (Alfredo Rolando) PO Box 911, Corona, CA 92878-0911, USA Tel: +1-951- 7379897
Fax: +1-951-3717177 Email: harp4ortiz@aol.com Web: www.alfredo-rolando-ortiz.com
Ossian Publications available from Music Sales at www.musicroom.com ; also from
www.ossianusa.com
OUP - Oxford University Press, Walton Street, Oxford OX2 6DP, UK Tel: +44-1865-556767
Web: www.oup.co.uk/music
Peer-Southern c/o Peermusic UK Ltd, Greyhound House, 23-24 George Street, Richmondupon-Thames, Surrey TW9 1HY Tel: +44-20-89391700; Fax: +44-20-86053788
Peters Edition Ltd 10-12 Baches Street, London N1 6DN Tel: +44-20-75534009
Fax: +44-20-75534021 Web: www.edition-peters.com
Piper Publications Dochroyle Farm, Barrhill, Girvan, Ayrshire KA26 OQG
Tel: +44-1465-821377 Email: orders@piperpublications.co.uk Web: www.piperpublications.co.uk
Presser (Theodore) available from Schott
Reiskmore Music 8 St Mary's Terrace, Taylor's Hill, Galway, Tel: +353-91-523370
Ricordi (G) & Co available from Schott
Salabert see under Durand
Salvi see under Holywell music
Sangeeta Publications see under S J Music
Schauer (Richard) available from Boosey & Hawkes
Schott & Co. 48 Gt Marlborough Street, London W1V 2BN, UK Tel: +44-20-72926090;
Fax: +44-20-75346115; Web: www.schott-music.co.uk
Schirmer, see under Music Sales
Sikorski Web: www.sikorski.de
S J Music 23 Leys Road, Cambridge, CB4 2AD Web: www.sjprintedmusic.co.uk
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Publishers & Suppliers 2015-2018
Spanish Guitar Centre see under Guitarnotes
Spartan Press, Strathmashie House, Laggan Bridge PH20 1BU, Scotland Tel: +44-1528-544770
Fax: +44-1528-544771 Web: www.spartanpress.co.uk
Stainer & Bell PO Box 110, Victoria House, 23 Gruneisen Road, London N3 1DZ, UK
Tel: +44-20-83433303 Fax: +44-20-83433024 Web: www.stainer.co.uk
Summy-Birchard available from Music Sales
Suvini-Zerboni available from Schott
Supraphon see under Bärenreiter-Praha
UME available from Music Sales web:
YPERLINK"http://www.musicroom.com"www.musicroom.com
UE - Universal Edition c/o Schott, 48 Great Marlborough Street, London W1V 2BN
Web: www.universaledition.com
Vanderbeeke & Imrie 15 Marvig, Lochs, Isle of Lewis, Scotland HS2 9PQ
Waltons 2-5 North Frederick Street, Dublin 1 69; Tel: 01-8747805 Fax: 01-8786065 South
Great Georges Street, Dublin Tel: 01-4750661 Web: www.waltons.ie Email: info@waltonsmusic.ie
Wedderburn Music PO Box 32, Greystones, Co. Wicklow Tel: 01-2876370;
Email: smburn@eircom.net
Wiener Urtext available from Universal Edition
Yorke Edition Grove Cottage, South Creake, Fakenham, Norfolk NR21 9PA, UK
Tel: +44-1328-823501 Fax: +44-1328-823502. Web: www.spartanpress.co.uk
Zimmermann Musikverlag Strubbergstrasse 80, 60489 Frankfurt am Main, Germany.
Tel: +49-69-9782866 Fax: +49-69-97828679 Email: info@zimmermann-frankfurt.de
Web: www.zimmermann-frankfurt.de
STOCKISTS - LOCAL CENTRE MUSIC
Anthem Music, 59 Main Street, Portlaoise, Co Laois Tel: 057-8662188
Book Haven Units 3/10, Block 4, Ashbourne Business Park, Ashbourne,
Co Meath Tel: 01-8352621
Bookworm, 5 Liberty Square, Thurles, Co Tipperary Tel: 0504-22257
Broderick’s Music Warehouse, New Building Lane, Kilkenny, Co Kilkenny Tel: 056-7765401
The Book Centre, Main Street, Ballybofey, Co Donegal Tel: 074-9132384
John J Collins, Castle Street, Castlebar, Co Mayo Tel: 094-9028668
Denniston’s, Centenary Square, Longford Town, Co Longford Tel: 043-3346345
DK Music, 16 St John Street, Kilkenny, Co Kilkenny Tel: 056-7774100
Educational Music Services Ltd, 22 Mountjoy Square East, Dublin 1 Tel: 01-8742310
Essaness, Kieran Street, Kilkenny Tel: 056-7765693
Everest Music, Unit 2, Raven Hall, Dublin Road, Bray, Co Wicklow Tel: 01-2861933
Henderson Pianos, 11 Bishop Street, The Diamond, Derry Tel: 048-71365791
It Music, The Depot, Chapel Street, Kiltimagh, Co Mayo. Tel: 094-9374883
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RIAM Local Centre Syllabus of Stringed Instruments 2015-2018
KNB Music, Unit 2 & 3 Court House Square, Maynooth, Co Kildare Tel: 01-6293320
Metro Music, Unit 19 Rathfarnham Shopping Centre, D 16 Tel: 01-4931322
Minstrel Music, Peter Street, Wexford Town, Co Wexford Tel: 053-9144105
Monaghan Music & Piano Centre, Tullaghan, Ballinode, Co Monaghan Tel: 047-89232
Musicman, 3 The Plaza, College Street, Cavan Town, Co Cavan Tel: 049-4332131
McCullough Pigott, 11 South William Street, Dublin 2 Tel: 01-6773138
Opus II, 131 Oliver Plunkett Street, Cork Tel: 021-4279611
Opus II, 4 High Street, Galway Tel: 091-500300
Opening Minds, Unit 2, Block 4, Ashbourne Business Park, Ashbourne, Co Meath Tel:
8353411
Polymath Books, 1-2 Courthouse Lane, Tralee, Co Kerry Tel: 066-7125035
P Powell & Sons, The Four Corners, William Street, Galway Tel: 091-562295
Premier Music Store, 58 O’Connell Street, Clonmel, Co Tipperary Tel: 052-6129811
Pro Musica, Jem Music House, 20 Oliver Plunkett Street, Cork Tel: 021-4271659
The Record Room, The Grosvenor House, Grattan Street, Sligo Town. Tel: 071-9143748
The Learning Lab@Ryans, 34 Oliver Plunkett Street, Mullingar, Co Westmeath
Tel: 044-9342497
D R Ryan, 20 Bank Place, Tipperary Town, Co Tipperary Tel: 062:51128
Soundfactory, Upper Irishtown, Athlone, Co Westmeath Tel: 090-6478983
Soundshop Ireland Ltd, Unit 11 East Coast Business Park, Matthews Lane, Drogheda,
Co Louth Tel: 041-9831078
Salmons Department Store, Main Street, Ballinasloe, Co Galway Tel: 090-9642120
Savins Music Centre Limited, 111 O'Connell Street, Limerick Tel: 061-414095
Trax Music Store Ltd, Whitemill Road, Wexford, Co Wexford Tel: 053-9146896
Tuam Bookshop & Office Supplies, Vicar Street, Tuam, Co Galway Tel: 093-28907
Variety Sounds, 7 College Street, Killarney, Co Kerry Tel: 064-6635755
Waltons, 2-5 North Frederick Street, Dublin 1 Tel: 01-8747805
Waltons, 69 South Great Georges Street, Dublin 2 Tel: 01-4750661
Ward’s Music Shop, Castle Street, Donegal Town, Co Donegal Tel: 074-9721313
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Compilers
List of Compilers
Violin
Mr Michael d’Arcy, member of RIAM Strings Faculty
Viola
Ms Elizabeth Csibi, member of RIAM Strings Faculty
Violoncello
Ms Aisling Drury Byrne, member of RIAM Strings
Faculty
Double Bass
Mr Dominic Dudley, member of RIAM Strings Faculty
Irish Harp
Iníon Áine Ní Dhubhghaill, member of RIAM Strings
Faculty
Concert Harp
Ms Geraldine O’Doherty, member of RIAM Strings
Faculty
Classical Guitar
Ms Marion Hyland, member of RIAM Strings Faculty
Chamber Music
Ms Elizabeth Csibi, member of RIAM Strings Faculty
School Orchestra
Prof James Cavanagh, member of RIAM Woodwind,
Brass & Percussion Faculty
Aural Requirements
Prof Orla McDonagh (Head of RIAM Musicianship)
Ms Jean Archibald & Ms Marie Moran (members of
RIAM Musicianship Faculty) and Mrs Bernadette
Marmion (composer)
Theory & Harmony
Prof Orla McDonagh (Head of RIAM Musicianship)
Ms Jean Archibald & Ms Marie Moran (members of
RIAM Musicianship Faculty) and Mrs Bernadette
Marmion (composer)
Music Examples
Mr Jonathan Nangle, member of RIAM Musicianship
Faculty and Prof Réamonn Keary, Head of RIAM
Keyboard Faculty
Proof-reading
Ms Jennifer McCay (Senior Examiner), Ms Lorna Horan
(Chairperson of Senior Examiners) and Prof Miriam
Roycroft, Head of RIAM Strings Faculty
Publishers & Suppliers
Mr Philip Shields, Music Librarian RIAM
Project Coordinator
Ms Theresa Doyle, Local Centre Manager
Administration
Local Centre Examinations’ Office